ANTHONY'S  PHOTO  SERIES,  No.  33. 


CONTAINING 


EXPLICIT  INSTRUCTIONS 


FOR 


PROFESSION  flflD  flJWflTEUR  PHOTOGRAPHERS, 


BY 


MAX  BOLTE 


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Hew  : 

K.  A H.  T.  ANTHONY  & CO., 


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No.  59i  BROADWAY. 
1897 


ANTHONY'S  PHOTO  SERIES,  No.  33. 


Carbon  Printing, 

CONTAINING 

EXPLICIT  INS TR  UC IVONS 


PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS, 


BY 

♦ 

MAX  BO  LT  E . 


1 Wew  l£ork: 

E.  & H.  T.  ANTHONY  & CO, 

No.  591  BROADWAY. 

1897 


Copyright,  1890,  by  E.  & H.  T.  Anthony  & Co. 


y~pHE  matter  to  be  found  in  the  following  pages,  from  the  hand  of  one 
so  well  versed  in  the  practical  workings  of  this  branch  of  the  photo- 
graphic art  as  the  author,  will,  we  think,  be  sought  for  by  the  many  who 

are  devoting  a portion  of  their  study  and  experiment  to  this  phase  of  it, 

* 

and  we  have  therefore  reprinted  it  from  the  “Bulletin,”  where  it  appeared 
as  a serial,  and  send  it  forth  in  book  form,  with  the  hope  that  it  may  be 
of  service  to  many. 

The  Publishers. 

New  York,  February,  1897. 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/carbonprintingcoOObolt 


CARBON  PRINTING: 

EXPLICIT  INSTRUCTIONS  FOR  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 


BY  MAX  BOLTE. 


CHAPTER  I. 

Introduction. 

Of  all  materials  known  to  chemistry,  carbon  is  the  most  constant  and  resist- 
ant to  the  influences  of  temperature  and  the  hygrometric  changes  of  the  atmos- 
phere. Looking  at  old  manuscripts,  or  old  engravings,  which  were  produced  by 
writing  or  printing  in  carbon,  we  always  find  that  the  black  characters  and  lines 
remain  black,  even  if  centuries  have  passed  over  them,  the  paper,  parchment, 
or  other  supporting  materials,  meanwhile  having  faded  or  become  yellow.  Car- 
bon having  been  employed  as  the  essential  coloring  matter  in  all  these,  it  has 
proved  to  be  the  desideratum  for  the  production  of  photographic  pictures. 
Even  if  the  printing  processes  with  silver  salts  have  advanced  much,  it  is  well 
known  that  pictures  produced  in  this  way  (and  having  been  made  with  the 
utmost  care)  generally  fade  more  or  less  in  the  course  of  years,  even  if  they  are 
protected  against  the  light. 

The  strain  laid  upon  photographers  in  consequence  of  competition,  often,  un- 
fortunately, causes  them  not  to  be  so  careful  and  cautious  as  they  ought  and 
would  like  to  be  in  the  production  of  pictures;  and,  owing  to  these  and  other  cir- 
cumstances, it  only  too  often  happens  that  silver  prints  made  by  them  sooner  or 
later  show  signs  of  alteration.  This  is  due  to  lack  of  care,  to  which  they  had  to 
consent  in  order  to  make  their  business  pay.  Of  course  this  is  not  always  the 
case,  for  there  are,  fortunately,  many  photographers  who,  by  their  merits  and 
conscientiousness,  are  in  such  a position  as  to  be  able  to  devote  all  their  time  and 
a special  carefulness  to  the  production  of  as  really  good  and  permanent  work  as 
possible,  in  order  to  maintain  the  high  standing  which  they  have  been  able  to 
reach  through  their  ability  and  the  artistic  class  of  work  they  turn  out. 

Now,  as  regards  the  carbon  process  there  is  the  great  truth  which  predomi- 
nates over  all,  viz.,  that  carbon  pictures  produced  in  the  way  already  described  by 
many  authors,  and  practiced  by  a great  number  of  well-known  photographers 
and  amateurs,  are  stable  and  not  subject  to  any  such  influences  as  are  dangerous 
to  silver  prints.  There  has  often  been  made  the  apparently  just  remark  by  those 
who  do  not  know  the  carbon  process,  that  it  is  a so-called  “ blind  ” process,  i.  e. , 
it  is  in  some  way  guess-work,  or  a process  where  the  watching  of  the  impression 
produced  by  the  light  on  the  sensible  pigment  cannot  be  seen,  controlled,  and 
modified.  It  has  further  been  objected  to  this  beautiful  and  interesting  process, 
that  it  is  too  delicate  and  claims  too  much  care  and  constant  precautions  in  order 
to  produce  good  prints. 

But  all  these  objections  are  made  in  a somewhat  rash  and  inconside/ate 
manner,  for  science  and  intelligence  have  given  us  an  auxiliary  which,  as  far  as 
caution  and  carefulness  come  into  co-operation  supplies  us  with  a contrivance: 


2 


more  perspicacious  than  our  own  eye  would  be:  the  photometer  or  actinometer, 
which  was  invented  expressly  for  this  purpose.  By  means  of  this  little  con- 
trivance, carbon  printing  is  rendered  really  easy,  and  the  worker  readily  becomes 
acquainted  with  its  use,  and  soon  acquires  a security  which  in  fact  is  surprising. 

As  far  as  precautions  and  carefulness  are  concerned,  it  is  evident  that  any 
such  process  will  claim  its  just  portion;  but  considering  that  the  silver  printing 
process  also  claims  them  (the  repeated  washings  of  the  prints,  the  gold  toning  bath, 
the  elimination  of  the  hypo,  etc.),  it  is  evident  that  the  balance  inclines  towards 
the  carbon  process,  so  long  as  really  permanent  prints  are  desired. 

The  carbon  process  since  it  was  invented  has  always  been  an  interesting 
subject  to  scientific  men,  and  when  we  look  over  its  history  we  find  the  names  of 
Poitevin,  Regnault,  Sutton,  John  Pouncy,  Fargier,  Swan,  I.  R.  Johnson,  Leon 
Vidal,  Dr.  Van  Monckhoven,  Bolas,  Woodbury,  Dr.  Liesegang  and  others,  who 
have  all  worked  and  made  improvements  upon  it.  Several  treatises  have  been  pub- 
lished, all  containing  valuable  formulas  and  recommendations,  but  very  few  are 
written  in  such  a detailed  way  as  to  enable  a person  to  take  up  the  carbon  process 
and,  book  in  hand,  make  it  a success.  The  principal  object  of  the  present  treatise 
is  to  enable  any  person  to  become  a carbon  printer,  and  special  care  has  been 
taken  to  give  all  the  instructions  as  clearly  as  possible;  giving  the  formulas  for 
the  sensitizing  baths,  solutions,  etc.,  plain  and  intelligible,  in  order  to  avoid  to 
the  utmost  the  chances  of  a bad  result;  and  it  is  hoped  in  a manner  that  will 
enable  any  careful  worker  to  follow  up  this  process  with  not  more  trouble  than 
attaches  to  any  work  of  a similar  kind. 


CHAPTER  II. 

Work-rooms. 

A dark  room  (yellow  glass  windows  or  yellow  artificial  light  are  sufficient) 
must  be  provided  wherein  to  sensitize  the  carbon  paper,  and  special  care  must  be 
taken  that  it  is  well  ventilated  and  not  in  too  close  proximity  to  a kitchen,  stable, 
or  water-closet.  It  is  also  necessary  that  it  is  a dry  room,  and  that  the  floor  be 
clean  and  not  covered  with  a carpet.  The  screens  for  keeping  off  the  actinic 


light  ought  by  preference  to  be  of  dark  smoked  orange  glass,  combined  witn 
yellow  (sunflower-color)  tissue  paper  when  it  is  the  intention  to  sensitize  during 


3 


the  daytime.  However,  as  will  be  seen  in  the  Chapter  on  Sensitizing,  it  is  not 
absolutely  necessary  to  sensitize  during  the  day,  and  it  is  even  more  convenient 
to  do  it  in  the  evening,  when  a simple  sperm  candle  is  all  that  is  wanted  to  con- 
duct these  operations. 

For  the  production  of  large  quantities  of  carbon  prints  on  a large  scale, 
there  should  be  a dark  room  as  described  above.  The  late  Dr.  Van  Monck- 
hoven  recommended  a special  contrivance,  which  at  the  same  time  gives  a good 
and  abundant  light  with  perfect  and  convenient  ventilation.  It  consists  of 


double  shutters,  as  in  Fig.  i,  painted  inside  and  out  with  a yellow  color,  and 
having  the  angle  uppermost.  A window  may  be  fitted  to  receive  it.  Mr. 
Sarony,  of  Scarborough,  England,  uses  a very  convenient  arrangement,  which 
will  be  easily  understood  by  Fig.  2. 

The  rooms  for  development,  mounting  and  retouching  do  not  claim  any 
special  preparations  as  regards  light,  for  all  these  operations  are  conducted  in 
daylight.  There  should,  however,  be  provided  communications  with  the  main 
water-pipe  and  sink.  It  is  good  if  the  floor  is  covered  with  asphaltum,  or  has 
stone  paving. 

For  amateurs  these  contrivances  are  not  necessary,  or  should  be  greatly 
modified.  The  greater  number  are  possessed  of  a dark  room,  and  will  easily 
be  able  to  make  such  alterations  as  will  be  indicated  hereafter.  The  above  rec- 
ommendations as  regards  light,  ventilation,  proximity  of  kitchens,  stable?  or 
water-closets,  etc.,  must  be  borne  in  mind.  Those,  who  do  not  possess  a dark 
room  will  also  be  able  to  make  carbon  prints  if  they  follow  the  indications  given 
in  the  following  pages. 


4 


CHAPTER  III. 
Apparatus. 


Trays. — Four  different  classes  of  trays  are  wanted:  for  sensitizing,  a reservoir 
tray,  developing,  and  alum  bath.  Their  size  depends  upon  that  of  the  plates 
used  and  the  dimensions  of  the  pictures  desired.  For  8 x io  plates  the  dimen- 
sions of  the  trays  ought  to  be  as  follows:  Length,  nj  to  12  inches,  breadth,  9^ 
to  10  inches,  depth,  5 to  6 inches.  For  sensitizing  and  developing  same  length 
and  breadth,  but  at  least  10J  inches  deep  for  the  reservoir  tray,  and  only  2 to  2^ 
inches  for  the  alum  bath.  The  8x10  size  for  plates  is  very  convenient,  for  it 
allows  that  two  5 x 8 or  smaller  sized  pictures  can  be  developed  at  the  same 
time,  thus  simplifying  the  work  very  much.  These  trays  should  be  made  of  stout 
sheet  zinc,  not  of  tinned  iron.  It  is  also  very  convenient  to  procure  one  larger 
tray,  two  to  three  inches  longer  and  broader,  and  to  use  it,  when  the  temperature 
in  summer  rises  above  70  to  75  degrees  F. , as  a cooling-bath  for  the  sensitizing 
and  transfer  manipulations.  If  convenient,  all  these  trays  may  be  coated  with  a 
varnish  made  of  asphaltum  in  benzine;  however,  it  is  not  necessary. 

Squeegee. — There  should  beat  least  two  squeegees.  They  can  be  obtained 
ready  made  and  of  different  sizes.  It  is  easy  to  make  them  by  proceeding  as 
follows:  Take  a piece  of  wood  say  8 by  3 by  | inches,  and  give  it  the  form  as  in 
Fig.  3.  Make  a groove  at  the  lower  end,  and  place  into  it  a piece  of  rubber- 

Fig.  3. 


cloth,  three  or  four-ply,  the  same  length  as  the  wood  and  about  two  inches  in 
breadth;  secure  by  means  of  some  brass  screws.  Larger  plates  than  10  x 12 
claim  a squeegee  of  larger  size.  Mark  one  of  them  with  a B and  the  other  with 
a 2]  and  use  B only  for  the  sensitizing  of  the  paper  and  T for  the  transfers,  as 
will  be  explained  later  on. 

India-rubber  Cloth. — Two  pieces  of  this  cloth  should  be  provided.  As  regards 
size,  they  must  be  at  least  three  inches  larger  every  way  than  the  plates  for 
which  they  will  be  used.  They  must  be  kept  clean,  and  it  is  best  to  use  one  for 
the  sensitizing  and  provide  it  with  a mark,  say  B,  and  reserve  the  other  for  the 
transfer,  marking  it  T. 

Folding  Racks. — There  should  be  three.  They  are  cheap  and  can  be  obtained 
from  any  dealer  in  photographic  materials. 

Glass  or  Porcelain  Plates. — These  plates  must  be  chosen  according  to  the 
size  of  the  pictures  to  be  produced.  It  is  also  left  open  to  decide  whether 
ground  or  plain  plates  shall  be  used.  Plain  plates,  glass  or  porcelain,  produce 
pictures  (by  means  of  the  double  transfer)  with  a high  gloss;  ground  plates  give 
a matt  surface.  Beginners  will  do  better  in  employing  porcelain  plates,  which 
render  it  more  easy  to  estimate  the  strength  of  the  picture  when  developing. 
Large  pictures,  also  transparencies,  claim  glass  plates,  for  there  is  a difficulty  to 
obtain  large  porcelain  plates  free  from  defects,  and  their  cost  is  exceedingly  high. 


Transparencies  cannot  be  estimated  sharply  as  regards  their  degree  of  develop- 
ment if  they  have  been  transferred  to  porcelain. 

Collodion  Bottle. — Cross’  filtering  and  pouring  bottle  is  a very  convenient 
contrivance.  It  has  the  advantage  that  it  is  cheap  and  very  handy,  as  no  collo- 
dion but  that  which  passes  through  the  filter  comes  into  use. 

Funnels. — There  ought  to  be  two  funnels,  either  glass  or  india  rubber,  and  of 
convenient  size,  one  to  be  used  for  sensitizing  and  the  other  for  the  alum  bath; 
and,  in  order  to  avoid  confusion,  they  should  be  marked,  the  former  3,  and  tne 
latter  A,  and  should  only  be  employed  for  the  designed  purpose. 

Thermometer. — Either  a so-called  bath  thermometer,  or  one  mounted  on 
glass,  and  with  divisions  in  Fahrenheit  and  centigrade  degrees  is  necessary. 

Heating  contrivances. — For  large  quantities  of  work  a so-called  “Geyser”  is 
recommended.  It  consists  of  a cylinder  containing  a spiral  coil,  and  having  an 
opening  at  the  top  for  connection  with  the  water-pipe,  and  a valve  at  the  lower 
end.  Underneath  is  a gas-burner.  It  heats  the  water  very  fast,  and  by  regulat- 
ing the  burner  and  the  valve  of  the  water  supply,  any  degree  of  heat  can  be  given 
to  the  water.  Amateurs  will  not  require  such  an  apparatus,  as  they  will  not 
want  large  quantities  of  hot  water.  It  will  be  sufficient  to  procure  a good  single 
or  double-wick  “ Summer  Queen  ” kerosene  stove  and  a water-kettle  of  convenient 
size.  It  is  an  absolute  necessity  to  have  a contrivance  for  heating  water,  for 
without  hot  water  nothing  can  be  done.  The  kettle  should  hold  at  least  half  a 
gallon;  of  course  all  depends  on  the  scale  of  the  work  to  be  done. 

Large  establishments  may  be  fitted  out  with  some  developing  and  washing 
trays  of  large  dimensions;  the  former  resting  on  a sort  of  cradle  and  being  sus- 
pended at  the  center,  are  movable  in  the  same  manner  as  a see-saw.  The  water 
supplies,  cold  and  hot,  should  be  placed  over  them,  and  there  may  be  also  pro- 
vided some  roses,  which  are  very  useful  to  give  a final  wash  to  the  plates;  or,  the 
roses  from  the  hot  water  supply  are  used  to  clear  up  darker  portions  of  the  picture 
under  development. 

Printing  Frames. — The  same  class  of  printing  frames  as  are  generally  employed 
for  silver  prints  may  be  used.  There  are  however  others  made  expressly  for  this 
process  and  which  have  no  folding  back,  since  there  is  no  necessity  to  open  the 
frames  during  the  exposure  to  the  light  in  order  to  see  the  progress  made.  The 
frames  must  be  kept  free  from  dust  and  as  dry  as  possible.  It  is  good  to  cut 
some  pieces  of  impermeable  paper  or  of  rubber-cloth  and  lay  between  the  tissue- 
paper  and  the  back  plate  of  the  printing  frame.  These  pieces  should  be  a little 
larger  than  the  carbon  tissue.  Very  handy  and  convenient  are  the  printing  presses 
invented  by  Mr.  Sarony;  they  are  too  well  known  to  require  describing  here. 

Wood  Clips  — About  two  dozen  or  more  are  wanted  They  are  cheap.  The 
most  convenient  are  those  that  have  a hook  on  the  upper  end,  by  which  they 
may  be  suspended  on  a rope  or  wire. 

Drying  Box. — For  those  who  cannot  arrange  a special  room  (well  ventilated, 
dry,  and  not  in  too  close  proximity  to  a kitchen,  stable,  etc.,  as  mentioned 
already),  a contrivance  like  this  will  enable  them  to  take  up  this  fine  process.  A 
somewhat  detailed  description  and  illustration  are  necessary  (see  Fig.  4).  The  box, 
A A A A,  should  have  the  following  dimensions:  Length,  3 to  31  feet,  breadth, 
2^  to  2\  feet,  height,  2^  to  feet.  The  boards  ought  to  be  one  inch  in  thick- 
ness, well  joined,  and,  of  course,  perfectly  light-tight.  A door  must  be  provided 
opening  the  whole  length,  and  fitting  perfectly  light-tight  also.  At  one  end  of 


the  case,  as  near  as  possible  to  the  top,  make  an  opening,  0 3,  say  f inch  by  2 
feet,  parallel  with  the  top,  and  place  before  it  a light-trap,  B , as  indicated  in  Fig. 
4.  This  trap  can  easily  be  made  by  any  one  who  possesses  a pocket-knife,  some 
nails,  and  a glue-pot.  The  arrow  in  the  drawing  indicates  the  course  of  the  air 
(passing  through  openings  O1,  O2  and  O3,  which  are  all  three  of  same  length 
and  breadth),  and  the  black  spots  show  where  the  openings  should  be  made. 
There  must  be  provided  a board  on  which  the  zinc  tray  C,  can  rest,  which  must 
be  filled  with  chloride  of  lime.  A door  must  also  be  made  by  which  this  tray 
may  be  introduced  and  withdrawn,  of  course  also  light-tight.  As  the  tray  is 
rather  long,  it  will  be  best  to  make  the  door  at  the  smaller  end  of  the  light-trap 
and  at  its  front.  Also  make  a hole,  (94,  opposite  and  diagonally  across  from  the 
former,  i. e. , at  or  near  the  bottom  of  the  case,  A A A A,  This  hole  should  be 


round  and  of  3 inches  diameter.  Attach  to  it  the  chimney  tube,  D.  This  tube 
must  have  an  elbow  and  a perforation  at  the  height  of  the  top  of  the  case  or 
above,  for  the  introduction  of  the  gas-burner.  If  no  gas  can  be  obtained,  the  tube 
should  be  provided  with  a drum  or  a cone,  and  in  it  should  be  placed  a kerosene 
lamp,  resting  on  a cross-bar  at  about  one  inch  from  the  bottom  of  the  drum. 
The  area  of  the  tube  should  exceed  that  of  the  opening,  0 3,  coming  from  the 
light-trap,  B,  in  order  to  produce  a stronger  draught.  There  should  be  placed 
a light-trap,  E}  before  this  outlet  of  the  air  in  order  to  prevent  any  light  rays 
proceeding  from  the  burner  in  the  chimney  entering  the  case.  It  is  sufficient  to 
join  two  small  boards  of  say  10  by  4 by  -J-  inches  lengthwise  together  and  place 
them  before  the  opening  inside  of  the  case.  Now  extend  some  copper  wires 
parallel  with  the  front  side  of  the  case  and  at  about  three  inches  from  the  top,  from 
one  side  to  the  other,  and  make  them  equi-distant  from  each  other.  For  a box 
of  the  above  dimensions  four  or  five  wires  will  be  all  that  is  required,  and  will 


7 


allow  of  hanging  upon  them  from  sixteen  to  twenty  pieces  of  carbon  tissue  of  8 
x io  or  larger,  and  this  quantity  is  sufficient  for  one  day’s  work.  It  will  dry  in 
a corresponding  time,  if  properly  managed. 

The  drying  box  should  rest  on  trestles  eighteen  inches  high,  as  indicated  in 
the  drawing.  The  joints  of  the  boards  should  be  pasted  over  on  the  interior  of 
the  case  with  some  stout  paper  strips,  and  the  front  door  must  of  course  swing 
outward.  It  is  good  to  provide  the  rabbets  of  the  door  frame  with  some  cloth 
strips  in  order  to  exclude  any  dust  or  light  which,  without  this  precaution,  might 
find  its  way  into  the  interior  of  the  case.  The  whole  contrivance  ought  to  be 
kept  as  clean  and  dry  as  possible.  It  is  a good  plan  to  place  some  heated  bricks 
in  the  box  from  time  to  time  and  allow  them  to  cool  off.  This  should  be  done 
when  the  weather  is  damp,  and  of  course  by  preference  before  the  case  is  to  be 
used.  In  the  course  of  this  treatise  we  shall  give  some  more  explicit  instructions 
for  the  management  of  the  drying  box. 

The  above  mentioned  accessories,  with  the  exception  of  the  photometer,  of 
which  a description  and  illustration  will  be  furnished  later,  are  the  requisites 
necessary.  As  regards  scales,  measures,  weights,  filtering  and  blotting-papers, 
etc.,  these  are  generally  at  hand  with  any  photographer  or  amateur. 


CHAPTER  IV. 

Chemicals  and  Paper. 

There  are  two  chemicals  which  play  an  important  role  in  this  process. 
Bichromate  of  potash  (K2Cr207)  and  bichromate  of  ammonia  (NH4)2 
Cr207,  but  as  there  is  such  an  extraordinary  difference  of  price  between 
the  former  and  latter,  without  any  equivalent  benefit,  we  shall  only  speak 
of  bichromate  of  potash.  This  chemical  should  always  be  handled  with  the 
greatest  care,  for  it  is  strongly  corrosive.  Solutions  of  this  salt  taken  internally 
cause  violent  inflammation  of  the  stomach  and  kidneys,  accompanied  by  severe 
vomiting  (yellow)  and  diarrhoea.  Bicarbonate  of  soda  or  magnesia  should  be 
taken  as  soon  as  possible.  There  is  not  much  danger,  since  cases  where  mistake 
has  led  to  the  taking  of  these  solutions  internally  are  exceedingly  rare.  By  far 
the  greater  danger  lies  in  the  handling  of  the  cold  or  warm  solutions,  in  which  the 
carbon  printer  might  have  to  immerse  his  fingers  and  hands.  It  should  always 
be  borne  in  mind  that  these  solutions,  even  if  employed  weak  and  tepid  or  cold, 
cause  strong  irritation  of  the  skin,  and  should  there  be  any  light  scratches  or 
lesions  of  the  skin  on  the  fingers  or  hands,  the  inevitable  consequence  will  be  an 
irritation  of  those  wounds,  with  sometimes  very  disagreable  consequences 
and  rather  difficult  healing.  We  strongly  recommend  not  to  allow  the  fingers 
and  hands  to  remain  too  long  in  the  solutions.  Rubber  gloves  should  be  used. 
The  cold  sensitizing  baths,  although  stronger  in  bichromate,  are  not  as  dangerous 
as  the  warm,  or  sometimes  even  hot,  developing  bath,  for  as  the  pores  of  the  skin 
open  by  warmth,  they  are  more  likely  to  absorb  the  poison  contained  in  these 
solutions.  Avoid  also  contact  of  the  eyes  or  nostrils  with  the  fingers  which  have 
recently  touched  chromic  salts. 

Some  months  after  having  taken  up  carbon  printing,  I was  surprised  to  find 
myself  with  rather  disagreeable  sores  and  ulcers,  which  made  their  appearance  on 


8 


my  fingers  and  hands,  and  I attributed  them  to  impurity  of  my  blood.  The 
physician  whom  I consulted  admitted  that  he  had  never  before  seen  such  ulcers. 
Business  occupations  compelled  me  to  suspend  carbon  printing  for  about  two 
months,  and  the  ulcers  had  by  that  time  disappeared.  When  I again  took  up 
carbon  printing,  having  some  slight  scratches  on  the  hands  which  I got  by  play- 
ing with  a cat,  I noticed  that  they  would  not  heal,  showing  much  inflammation, 
closing  at  the  surface  and  forming  pus.  Some  dreadful  ulcers  appearing  in 
much  greater  numbers  also  made  their  appearance,  and  this  time  they  were  of  a 
far  more  venomous  character  and  for  weeks  resisted  any  treatment.  I decided 
to  go  to  Germany  and  there  I consulted  three  eminent  physicians;  two  of  them, 
after  careful  examination,  came  to  the  conclusion  that  my  case  was  analogous  to 
syphilitic  disorganization.  Subcutaneous  injections  of  bichloride  of  mercury 
with  a slight  addition  of  common  salt  were  made.  One  of  these  injections 
provoked  an  ulcer  on  the  hip  which  kept  me  for  eleven  weeks  in  bed.  Three 
operations  were  made,  cutting  always  the  borders  larger  and  employing  chloride 
of  zinc  for  seventy-two  hours  to  cauterize  the  bad  flesh,  etc.  Visiting  New  York 
about  a year  after  this  experience,  I learned  here  that  the  disease  from  which  I 
was  suffering  was  nothing  else  but  bichromate  of  potash  poisoning.  The  remedies 
given  to  me  were  sulphide  of  calcium  (two  pills  of  an  eighth  of  a grain  daily 
for  one  week  ) and  phenic  acid  in  syrup  (a  tablespoonful  morning  and  evening, 
also  for  one  week),  and  alternating  these  two  for  about  six  to  ten  months.  This 
was  in  1884,  and  to-day  I am  assured  that  this  treatment  has  entirely  cured  me, 
and  for  more  than  eighteen  months  I have  been  well. 

Waxing  Solution. — To  prepare  this  solution  take 

White  (virgin)  wax 1 ounce. 

Benzole 100  ounces. 

The  wax  must  be  scraped  as  fine  as  possible.  Introduce  it  into  a bottle,  pour 
on  the  benzole  and  shake  well  until  entirely  dissolved.  Let  it  stand  for  a couple 
of  hours  and  decant  the  clear  solution.  Be  sure  that  the  bottles  are  absolutely 
clean  and  free  from  water,  for  the  least  drop  would  render  the  solution  turbid. 
Only  pure  white  or,  still  better,  yellow  wax,  which  is  generally  purer,  must  be 
used,  for  if  tallow  is  contained  in  it  the  solution  will  not  give  the  high  gloss 
desired.  If  adulterated  wax  has  been  employed,  an  addition  of  one  part  of 
rosin  to  ten  parts  of  wax  may  be  used. 

Collodion. — The  collodion  should  not  contain  more  than  one  per  cent,  of 
cotton  and  equal  parts  of  alcohol  and  ether,  i.e.,  50  parts  alcohol  and  50  parts 
ether.  For  those  who  do  not  know  how  to  prepare  the  collodion,  I will  here 
give  a convenient  method.  Having  weighed  the  right  quantity,  open  the  solu- 
ble cotton  and  tuft  it  well;  introduce  it  into  a bottle  somewhat  larger  than 
required,  and  pour  on  some  of  the  alcohol.  Shake  well,  acid  the  remainder  of 
the  alcohol,  and  again  shake  well  until  you  see  that  the  cotton  is  perfectly 
soaked.  Now  add  a small  quantity  of  the  ether  and  shake  well;  add  more  and 
shake  again,  and  so  on  until  all  the  ether  has  been  added.  Allow  the  collodion 
to  stand  for  a couple  of  days,  for  new  collodion  does  not  work  so  well  as  old. 
It  may  be  used  as  it  is  however,  if  desired,  or,  if  necessary,  a slight  addition  of 
carmine  or  aniline  red  may  be  used.  These  colors  are  first  dissolved  in  alcohol, 
and  of  this  solution  the  necessary  quantity  is  added  to  the  collodion,  which  after 
this  addition  h again  well  shaken.  The  collodion  should  either  be  decanted  or, 
better  still,  filtered  through  flannel,  in  order  to  have  it  as  clear  as  possible. 


9 


Alum  Solution. — This  is  used — and  cannot  be  dispensed  with — after  the  devel- 
opment of  the  carbon  picture,  as  it  serves  to  harden  the  gelatine  and  eliminate 
any  trace  of  bichromate  of  potash  which  might  still  be  contained  therein.  For 
double  transfer  pictures  the  solution  must  not  be  stronger  than  2 to  100;  for 
single  transfer  it  can  be  made  as  strong  as  5 per  cent.  It  is  preferable  to  use 
rain  water,  though  any  water  can  be  used,  but  then  from  three  to  five  drops  of 
sulphuric  acid  must  be  added  in  order  to  keep  the  solution  clear.  Before  use 
filter  repeatedly,  at  least  three  times.  It  is  best  to  use  always  fresh  solution. 

Carbon  Tissue  Paper. — Though  it  is  not  very  difficult  to  prepare  this  paper, 
as  there  are  so  many  and  reliable  manufacturers  who  produce  it  in  excellent 
quality,  any  desirable  shade,  and  at  not  too  high  prices,  it  will  be  better  to  take 
advantage  of  their  products,  and  save  the  carbon  printer  many  an  inconvenience 
and  failure.  I therefore  abstain  from  giving  a description  how  to  prepare  it,  which 
would  moreover  l^ead  to  a somewhat  lengthy  discourse.  There  are  however 
some  few  items  which  should  always  be  borne  in  mind:  1st.  The  fresher  the 

paper  the  better  it  will  work.  2d.  Always  preserve  the  paper  against  dampness 
and  emanations  from  kitchen,  stable  or  privies;  it  is  almost  absolutely  necessary 
to  keep  it  in  tin  tubes  or  boxes,  which  should  be  as  air-tight  as  possible.  3d. 
The  cutting  of.  the  paper  ought  to  be  done  with  care,  and  the  fingers  should  not 
touch  the  gelatine  side,  for  any  such  touching  would  leave  a mark  and  some- 
times show  in  the  picture.  During  hot  weather  linen  thread  gloves  should  be 
worn  for  this  manipulation.  The  operation  is  often,  especially  during  hot  and 
dry  weather,  a somewhat  tiresome  one,  since  the  paper  becomes  so  brittle  that  it 
is  scarcely  manageable.  It  is  therefore  good  to  place  it  fora  night  in  a cellar  or 
room  where  some  damp  clothes  are  hung  up,  unroll,  but  not  cut  it  until 
sufficiently  softened.  After  cutting,  the  pieces  should  be  kept  under  a weight  or 
in  a printing  frame  and  with  the  carbon  sides  face  to  face.* 


CHAPTER  V. 
Sensitizing  the  Tissue. 
The  solution  should  be  prepared  as  follows: 


Bichromate  of  potash  (finely  pulverized) 3 ounces. 

Carbonate  of  ammonia 7°  grains. 

Water 100  ounces. 


and  after  complete  solution  it  should  be  filtered  repeatedly  through  flannel.  Never 
omit  the  carbonate  of  ammonia,  as  it  much  facilitates  development.  The  solution 
must  be  used  at  a temperature  of  58  degrees  and  if  still  cooler  it  will  be  better. 
It  should  stand  at  least  1 \ inches  in  the  tray,  and  care  must  be  taken  that  the 
temperature  does  not  rise  during  the  sensitizing.  Having  dusted  a piece  of 
carbon  paper  on  both  sides  immerse  it  in  the  solution,  carbon  side  up,  and  for 
exactly  two  minutes , rocking  the  tray  all  the  time,  being  careful  that  the  paper 
remains  completely  covered.  Any  air-bells  that  appear  must  be  removed  by  the 

* Single  and  double  transfer  paper,  also  flexible  support  paper  will  be  described  later  on,  when  speaking 
of  their  employment  for  their  respective  uses. 


10 


duster.  Withdraw  the  paper  and  immediately  reimmerse  in  the  solution,  but 
this  time  only  for  one  minute  and  carbon  side  down.  Pass  the  duster  over  it  in 
all  directions,  that  no  air-bells  remain  adhering  to  it,  which  sometimes  produce 
black  spots  in  the  lighter  parts  of  the  picture.*  Having  placed  a stout  glass 
plate,  somewhat  larger  than  the  sheet  sensitized,  on  the  table,  take  the  sheet, 
holding  it  by  two  opposite  corners,  and  allow  the  solution  to  run  off;  and  as 
soon  as  drops  form,  lay  it,  carbon  side  down,  upon  the  glass  plate  and  cover  it 
with  the  rubber-cloth,  glossy  side  up.  Now  take  the  squeegee,  and  by  employing 
at  first  a gentle  pressure  squeegee  it  in  all  directions  and  always  from  the  center  to 
the  edges.  The  rubber-cloth  is  now  withdrawn,  and  by  means  of  one  or  two 
wood  clips  the  paper  is  hung  up  to  dry,  either  on  some  wires  fitted  up  for  this 
purpose  in  the  drying  room  or  placed  in  the  drying  box.  Serve  all  the  sheets  to 
be  sensitized  in  the  same  way.  The  squeegeeing  of  the  paper  may  be 
omitted  if  desired,  but  in  hot  weather  it  must  he  done.  The  drying  is  a very 
important  item,  for  the  time  which  is  occupied  by  it  has  a material  in- 
fluence upon  its  after  behavior;  if  dried  too  quickly  the  paper  will  be  found 
much  too  brittle,  will  print  slow,  and  be  deficient  in  half  tones;  if  too  long  in 
drying  it  will  most  likely  become  insoluble  and  useless.  The  right  time  is  from 
six  to  ten  hours.  The  sensitizing  can  be  done  in  subdued  daylight  or,  better 
still,  in  the  evening,  using  a sperm  candle,  but  neither  kerosene  or  gaslight. 
Carbon  paper  when  wet  is  not  affected  by  light,  but  once  sensitized  and  dry  it  is 
from  three  to  five  times  more  so  than  albumen  silver  paper.  Proper  drying 
imparts  three  qualities  to  the  paper:  ist.  Vigorous  prints,  clear  whites  or  high 
lights,  and  well  pronounced  shadows;  2d.  Easy  adherence  to  the  paper,  glass,  or 
other  transfer  medium;  3d.  Easy  and  short  development.  Some  authors  have 
recommended  to  sensitize  a couple  of  sheets  at  the  same  time,  but  I have  found 
that  this  is  not  to  be  advocated,  as  there  is  no  secure  way  to  avoid  the  air -bells, 
which,  if  many  sheets  were  sensitized  together,  would  escape  the  attention  of  the 
worker,  but  would  show  when  developing  and  not  easily  be  removed.  It  is 
evident  that  the  sensitizing  solution,  after  having  used  it  for  a number  of  sheets, 
gets  weaker,  and  it  is  therefore  prudent  to  take  a fresh  bath  after  a certain  num- 
ber of  sheets,  say  ten  to  fifteen,  have  been  immersed.  As  the  bichromate  of  potash 
is  not  an  expensive  chemical,  there  should  not  be  a false  economy  with  the  bath, 
and  after  use  the  solutions  should  be  thrown  into  the  sink. 

Regarding  the  management  of  the  drying  room  and  the  drying  box,  I will  here 
give  some  hints.  The  drying  room  should  be  as  free  from  dust  as  possible,  and 
be  guarded  against  any  white  light,  and  have  a good  air  supply.  The  drying 
box  also  must  be  dry,  be  well  cleaned,  and,  before  putting  in  the  paper,  the 
chloride  of  lime  box  should  be  filled  about  a quarter  inch  high  and  the  air  current 
established.  Should  there  be  much  dampness  in  the  air  it  will  be  found  con- 
venient to  employ  chloride  of  calcium,  of  which  a sufficient  quantity  may  be 
introduced  ad  hoc , and  placed  in  the  drying  box.*)*  It  is  good  also  to  remove  any 
vessels  containing  water  or  solutions,  for  their  presence  in  the  room  would  con- 
tribute to  lengthen  the  drying  of  the  paper. 

Frequently  the  paper  after  a short,  but  good,  drying  becomes  rather  brittle 


*T.he  paper  first  rolls  up,  but  later  on  flattens  out,  and  this  is  the  right  moment  to  withdraw  it  trom  the  bath, 
t From  time  to  time,  and  especially  when  the  air  is  humid,  some  heated  bricks  should  be  placed  in  the  dry* 
in?  box,  of  course  hefore  any  paper  is  hung  up  to  dry. 


11 


and  horny;  in  order  to  avoid  this  the  sensitizing  bath  may  be  made  up  as 


follows: 

Bichromate  of  potash 3 ounces. 

Carbonate  of  ammonia 70  grains. 

Water 100  ounces. 


and  for  each  quart  of  the  solution  from  one-fourth  to  one-half  dram  of  glycerine, 
but  never  more.  When  working  in  hot  weather  it  will  be  found  advantageous  to 
add  to  the  preceding  formula  from  90  to  100  grains  of  salicylic  acid,  and  it  will 
be  found  that  the  reticulation  will  be  avoided. 

Having  sensitized  in  the  evening,  the  paper  will  be  found  perfectly  dry  in  the 
morning,  provided  that  everything  was  all  right,  and  it  may  now  either  be  exposed 
to  light  under  the  negative,  or  placed  in  the  preserving  or  magazine  box.  Of 
course  these  operations  must  be  performed  in  non-actinic  light.  Paper  which  has 
* been  sensitized  without  the  addition  of  salicylic  acid  cannot  be  kept  longer  than 
from  three  to  five  days,  but  those  with  salicylic  acid  will  keep  good,  if  preserved 
against  the  action  of  the  light  and  air,  for  as  long  as  ten  to  fifteen  days.  It  is 
good  to  keep  the  sensitized  papers  in  a light  and  air-tight  box  and  underpressure. 


CHAPTER  VI. 

Negatives  and  Printing. 

The  negatives  which  should  be  employed  ought  to  be  of  good  density  and 
must  be  provided  with  a so-called  “safe  edge,”  i.e.,  some  opaque  yellow  or 

Fig.  5- 


A 


A AAJ 

black  paper  strips  pasted  around  the  borders.  These  strips  ought  to  be  from 
one-eighth  to  one-fourth  of  an  inch  wide.  This  is  a necessity,  for  if  there  were 
not  a safe  edge  many  a good  print  might  be  spoiled  by  a little  carelessness,  when 
withdrawing  the  tissue  paper  from  the  transfer  medium. 

For  double  transfer  the  negatives  as  generally  taken  are  all  right,  for  the 
picture  will  show  right,  i.e.,  the  objects  which  are  on  the  right  side  will  come  in 
the  picture  on  the  right  side  also;  but  for  the  single  transfer  the  negatives  must 


12 


be  reversed,  for  this  process  gives  pictures  where  the  right  side  objects  are  shown 
on  the  left  side.  This  is  due  to  a peculiarity  of  the  carbon  process — the  prints 
must  be  developed  from  the  back.  As  it  also  reproduces  in  the  most  absolute 
way  any  shades  or  gradations  of  the  negative,  it  is  necessary  when  printing  from 
thin  negatives  that  they  are  covered  on  the  glass  side  either  by  mineral  paper  or 
matt  varnish.  The  latter  is  preferable,  as  it  admits  that  parts  which  should  print 
strong  can  be  cleared  up  or  scraped  off.  A very  good  formula  to  make  the 


varnish  is  as  follows: 

Gum  sandarac  (finely  powdered) 4 parts. 

Ether 36  “ 

When  dissolved  add 

Canada  balsam 1 part. 

Benzole  . . . . 20  to  30  parts. 

Filter. 


The  greater  or  smaller  quantity  of  benzole  produces  a coarser  or  finer  grain. 
This  varnish  is  employed  on  the  back  of  the  negative,  which  however  should 
not  be  warmed.  If  more  density  is  wanted  a second  covering  with  the  varnish 
maybe  given.  The  retouching  can  be  done  with  the  pencil,  graphite  and  stump, 
also  with  brush  and  colors,  and  parts  which  should  print  well  may  be  lightened 
up  by  means  of  a brush  dipped  in  mastic  varnish.  Larger  negatives  may  be 
covered  with  mineral  paper  which  was  first  soaked  in  water  and  blotted  off.  The 
borders  only  must  be  gummed  and  the  whole  sheet  drawn  as  tight  as  possible 
over  the  plate.  The  retouching,  by  means  of  stump  and  pencil,  should  be  done 
on  the  paper  when  dry.  Strong  negatives  do  not  require  this,  but  thin  negatives 
will  be  much  improved  by  it.  The  single  transfer  process  requires  reversed 
negatives,  which  may  be  made  either  direct  in  the  camera,  placing  the  film  side 
of  the  plate  against  the  holder  (of  course  the  focusing  glass  should  be  reversed 
also,  or  its  thickness  taken  into  consideration  when  focusing),  by  means  of  a 
prism  placed  before  the  lens,  or  by  a mirror  inclined  45  degrees  to  the  axial  light 
rays.  For  these  two  modes  the  exposure  should  be  about  one-fourth  longer. 
Or  reversed  negatives  by  means  of  film  may  be  used.  Negatives  of  good  density 
turn  out  powerful,  rich  prints;  thin  negatives  give  flat  pictures.  By  employing 
weaker  or  stronger  bichromate  solutions  there  is  a remedy,  and  from  weak  nega- 
tives strong  and  powerful  prints  may  also  be  made  and  vice  versa . Much-in- 
tensified negatives  produce  hard  prints  without  any  soft  gradations,  and  such 
prints  should  be  exposed,  either  before  or  after  printing,  for  a few  seconds  to 
diffused  daylight. 

Photometer . — There  are  several  styles,  which  all  answer  well.  We  shall  only 
speak  of  two,  the  scale  photometer  and  the  block  photometer.  The  scale  photom- 
eter can  be  easily  made  by  any  one;  it  consists  of  a 4 x 5 glass  plate,  or  smaller, 
divided  into  twelve,  sixteen,  or  more  squares,  and  formed  by  the  superposition  of 
pieces  of  mineral  paper,  the  first  square  being  covered  with  one  piece,  the  second 
with  two,  and  so  on  until  the  last,  which  would  have  twelve  or  sixteen  pieces 
pasted  one  over  the  other.*  A 4 x 5 printing  frame  is  very  suitable.  The  silvered 
paper  is  laid  against  the  corresponding  square,  the  frame  closed  and  exposed  to 
light,  and  when  sufficiently  printed  the  respective  number  will  stand  out  white 
on  a brownish  ground.  The  block  photometer  is  a small  box  provided  with  a 


* When  all  the  papers  are  perfectly  dry  there  should  be  inscribed  the  numbers  from  1 to  12  (inverted)  eith»« 
with  India  ink  or  some  red  color. 


13 


double  cover.  The  upper  cover  has  a round  opening  cut  in  it,  and  under  it  is 
placed  a glass  plate  divided  into  three  sections,  of  which  the  two  outer  ones  are 
painted  chocolate-brown  (the  tint  which  silvered  paper  shows  when  exposed  to 
direct  sunlight  for  one  and  one-half  minutes).  In  the  case  is  placed  a roll  of 
sensitized  paper  corresponding  in  breadth  to  that  of  the  inner  section  of  the  glass 
plate,  or  a little  larger,  and  of  any  desired  length.  The  end  of  this  roll  is  drawn 
over  the  lower  cover  of  the  box  so  that  it  stands  out  a little.  The  upper  cover 
is  now  closed  and  the  photometer  exposed  to  the  light,  and  as  soon  as  the 
silvered  paper  shows  the  same  color  as  the  painted  sections  it  is  called  one  tint. 

There  is  now  the  question  how  to  apply  the  photometer  to  the  printing.  The 
printing  frames  having  been  provided  with  negatives  and  sensitized  papers,  and 
the  photometer  having  a fresh  portion  of  silvered  paper  under  the  opening  men- 


Fig . 6* 


tioned,  are  exposed  together  to  the  action  of  the  light,  and  when  the  photometer 
shows  the  required  color,  the  carbon  paper  has  been  acted  upon  by  the  light  in 
the  same  way.  How  many  tints,  or  what  number  of  the  scale  photometer,  re- 
quires a negative  of  a certain  density  ? This  question  can  only  be  answered  by 
practice,  and  the  beginner  most  assuredly  will  have  to  sacrifice  some  prints  in 
order  to  learn  how  to  estimate  the  density  of  the  negatives  in  their  relation  to  that 
class  of  photometer  which  he  has  adopted.  A negative  of  medium  density  mav 
require  from  three  to  four  tints,  or  even  more  if  matt  varnish  or  some  strong  re- 
touching has  been  resorted  to.  The  question  which  photometer  shall  be  em- 
ployed should  be  answered  first,  for  it  is  prudent  to  always  use  the  same  pho- 
tometer, as  it  much  facilitates  the  work  when  the  printer  has  got  well  accustomed 
to  its  strength.  The  silvered  paper  for  the  photometer  should  always  be  of  the 
same  strength  of  silver,  for  uniformity  is  absolutely  necessary  in  order  to  be  able 
to  rely  upon  the  right  working  of  all.  The  silvered  paper  is  best  made  of  Rives 
paper,  immersed  for  ten  minutes  in  a io-grain  solution  of  chloride  of  sodium,  and 
when  dry  may  be  kept  ready  for  use.  When  required,  float  it  for  two  minutes 
on  a 40-grain  solution  of  nitrate  of  silver,  and  add  about  ten  grains  citric  acid  to 
each  ounce  of  the  solution.  The  sensitizing  of  course  must  be  done  in  the  dark. 
The  paper  preserves  its  whiteness  for  weeks  when  kept  from  light. 


u. 


Having  selected  the  negatives  that  are  to  be  used,  separate  them  according 
to  their  density.  The  printing  frames  must  be  as  free  from  dust  as  possible  and 
perfectly  dry.  The  light  should  be  subdued  before  the  sensitized  carbon  paper 
is  resorted  to.  See  that  the  negatives  are  free  from  dust,  take  a piece  of  carbon 
paper,  dust  it  well  on  both  sides,  and  place  it  over  the  negative,  gelatine  side  in 
contact  with  it.  Cover  with  a piece  of  rubber-cloth  or  a felt  pad  ( must  be  abso- 
lutely dry),  and  close  the  back  of  the  printing  frame.  When  all  the  frames  have 
been  filled  in  this  way,  expose  to  light  and  place  the  photometer  close  by  them. 
Watch  the  photometer,  and  when  the  required  tints  are  reached,  turn  those 
frames  over  which  correspond.  Proceed  in  the  same  way  with  all  of  them.  The 
requisite  exposure  given,  the  printing  frames  are  taken  back  to  the  dark  room 
and  emptied,  and  the  printed  carbon  papers  are  now  laid  away  in  a light-tight 
box,  and,  if  possible,  some  pressure  applied  to  them. 

Should  there  be  some  hard  negatives,  it  is  best  to  expose  the  printed  carbon 
sheets  for  a few  moments  to  daylight,  which  would  give  them  a softer  appear- 
ance; but  care  should  be  taken  not  to  allow  the  light  to  act  too  long. 

The  printing  for  double  or  single  transfers  is  exactly  the  same,  but  for  trans- 
parencies a longer  exposure  to  light*is  necessary. 

N.  B.  Care  must  always  be  taken  never  to  employ  damp  tissue  paper. 

Since  the  gelatine  side  of  the  tissue  is  pressed  in  contact  with  the  negative,  it 
is  evident  that  if  it  retained  the  slightest  adhesiveness  on  its  surface  it  would  be 
dangerous  to  press  it  against  the  negative.  However  there  is  a very  efficient 
remedy,  which  was  first  employed  by  Mr.  Swan;  it  is  simply  to  dust  the  negative 
and  the  carbon  paper  with  some  steatite  (French  chalk  or  talc).  Of  course  the 
dusting  must  be  done  in  a careful  way,  and  by  means  of  a camel’s  hair  duster  as 
much  as  possible  of  the  steatite  should  be  removed.  This  imperceptible  coating 
offers  two  advantages:  First,  it  is  a discoverer;  for  if  there  is  any  moisture  left  in 
the  tissue,  when  passing  the  brush  over  it  the  steatite  will  adhere  in  patches  to 
any  moist  places,  and  will  not  spread  in  a scarcely  perceptible  coating.  Second, 
it  prevents  an  excessive  absorption  of  light  in  those  parts  of  the  carbon  tissue 
which  are  in  such  absolute  contact  with  the  negative  as  to  prevent  the  reflection 
from  its  back  surface.  The  dusting  of  paper  or  negative,  or  both,  does  not  cause 
any  imperfection  in  the  print. 


CHAPTER  VII. 

Single  Transfer  Process. 

This  process  is  free  from  any  difficult  operations  and  may  be  described  as 
follows: 

The  exposed  carbon  tissue , together  with  the  single  transfer  paper , is  placed  in 
a tray  containing  water  of  not  over  58  degrees  F,  and  after  some  minutes  are  with- 
drawn together  from  the  water,  placed  on  a glass  plate  or  wood  board,  and  squeegeed 
together.  They  must  now  remain  in  contact  for  at  least  fifteen  minutes,  and  slight 
pressure  may  be  employed;  placed  in  a tray  containing  lukewarm  water,  when  the 
tissue  paper  will  separate  from  the  transfer  paper,  leaving  the  carbon  on  the  latter , 
and  the  development  is  now  completed.  The  developed  picture  is  then  placed  in  an  alum 
bath  for  ten  minutes,  well  washed ' and  hung  up  to  diy. 

Having  subdued  the  light,  a sheet  of  tissue  is  taken,  dusted  carefully  on  both 
sides  and  immersed  in  the  water  contained  in  the  tray,  which  must  not  exceed 


15 


5 ft  degrees  F.  The  same  is  done  with  the  transfer  paper,  but  as  many  as  five,  or 
even  more,  may  be  placed  in  at  once,  for  it  does  not  make  any  difference  if  they 
remain  some  minutes  more  in  the  water.  The  tray  containing  the  carbon  tissue 
is  rocked  all  the  while,  and  care  must  be  taken  that  no  air-bubbles  remain 
adherent  to  the  tissue.  It  first  curls,  but  must  remain  entirely  immersed,  or  it 
might  reticulate  (especially  during  hot  weather)  when  this  precaution  was  not 
taken.  After  about  two  minutes  the  tissue  flattens  out,  and  this  is  the  very  mo- 
ment to  withdraw  it  from  the  water.* 

The  glass  plate,  which  must  be  somewhat  larger  than  the  transfer  paper,  should 
be  clean  and  free  from  all  dust.  Place,  the  transfer  paper,  glossy  side  up , upon 
the  glass  plate.  Lay  the  tissue  paper,  carbon  side  down , upon  the  transfer  paper, 
cover  with  the  rubber-cloth,  and  apply  the  squeegee  from  center  to  borders,  first 
using  gentle  pressure,  and  later  applying  more.  Now  withdraw  the  rubber-cloth 
and  examine,  holding  the  papers  horizontally  against  the  light,  if  they  have  been 
well  pressed  into  contact.  Remove  any  moisture  which  might  be  present  at  the 
borders  by  means  of  a moist  sponge  or  linen  towel,  and  hang  up  to  dry.  As  it 
often  happens  during  hot  weather  that  the  carbon  tissue  does  not  properly  adhere 
to  the  transfer  paper,  it  is  better  to  place  the  squeegeed  papers  between  two  glass 
plates  and  put  a weight  on,  leaving  them  under  pressure  for  15  to  20  minutes, 
then  suspend  them  to  dry.  Proceed  with  all  the  sensitized  tissue  and  transfer 
papers  in  the  same  way,  and  place  the  second  on  top  of  the  first  and  so  on,  but 
always  cover  them  with  a glass  plate  and  use  pressure.  The  same  water  which 
has  served  for  the  first  tissue  and  transfer  paper  may  be  used  for  all  the  rest,  pro- 
vided that  its  temperature  does  not  rise  above  58  degrees  F The  development 
may  be  made  after  fifteen  minutes,  but  not  sooner. 

As  soon  as  the  tissue  papers  have  been  moistened,  daylight  may  be  admitted, 
for  sensitized  carbon  paper  is  only  sensitive  to  light  when  dry. 

If  there  are  small  size  tissue  papers,  as  many  as  the  transfer  paper  will  hold 
may  be  squeegeed  into  contact  with  it,  thus  simplifying  the  developing  and  other 
operations  very  much. 

The  rubber-cloth  should  not  be  too  thick,  and  must  always  be  placed  with 
its  cloth  side  upon  the  paper. 

The  water  must  stand  at  least  four  inches  deep  in  the  trays;  better  if  deeper. 

N.  B.  Never  proceed  to  develop  until  the  bichromate  has  entirely  penetrated  the 
transfer  paper , which  is  easily  seen  by  the  yellowish  color  it  assumes . 

Single  Transfer  Paper . — This  is  a water-proof  paper,  having  on  one  side  a 
bright  gioss.  It  is  made  in  rolls  exactly  like  the  carbon  tissue,  covered  on  one 
side  with  a gelatine  layer  rendered  insoluble  by  the  addition  of  chrome  alum. 
It  may  be  also  made  as  follows:  Well-sized  white  paper  is  soaked  for  fifteen 
minutes  in  a sufficiently  strong  solution  of  shellac  in  alcohol;  or  it  may  be  soaked 
in  an  aqueous  solution  of  shellac,  consisting  of  3 parts  of  common  unbleached 
shellac  and  1 part  of  borax  boiled  in  30  parts  of  water.  Papers  prepared  by  this 
latter  formula  have  a nice  pink  color.  Single  transfer  papers  can  be  bought  the 
same  as  the  tissue  paper,  for  they  are  made  by  the  same  manufacturers. 

Development. — This  operation  can  be  conducted  in  full  daylight,  for  it  is 
essential  to  be  able  to  estimate  the  different  degrees  of  developing  in  the  pictures 


* The  carbon  paper  may  be  left  longer  in  the  water,  even  for  hours,  but  during  hot  weather  1 would  recom- 
mend to  leave  it  for  about  five  minutes. 


16 


Proceed  as  follows  : Place  your  table,  provided  with  hot  (Summer  Queen  stove 
or  other  contrivance)  and  cold  water  supply,  conveniently.  Prepare  the  alum 
solution  and  filter  it  repeatedly,  as  will  be  explained  later  on.  Be  sure  that  your 
hot  water  is  boiling.  Now  take  the  first  of  the  transferred  papers  and  place  it, 
tissue  side  up,  into  the  developing  tray  and  pour  cold  water  upon  it.  The  water 
must  stand  at  least  one  inch  deep  in  the  tray.  Rock  it  and  be  watchful  to 
remove  any  air-bells  which  may  appear,  for  if  not  removed  they  will  most  likely 
show  later  as  black  spots  in  the  picture.  Having  soaked  the  papers,  remove  them, 
add  some  hot  water,  rock  the  tray  to  mix  the  hot  and  cold,  and  reimmerse  the 
paper,  continuing  to  rock  the  tray.  Around  the  borders  of  the  tissue  paper  will 
appear  black  lines,  and  by  and  by  the  tissue  paper  will  lift  from  the  transfer  paper, 
which  indicates  that  the  gelatine  of  the  former  is  sufficiently  softened  to  allow  of 
its  removal,  and  this  must  be  done  with  care,  withdrawing  the  carbon  paper, 
holding  it  by  one  corner,  with  a steady  motion,  keeping  both  papers  under 
water. 

Having  removed  the  tissue  paper,  there  is  now  a black  slimy  mass  of  gelatine 
before  your  eyes.  In  gently  rocking  the  tray,  the  water  by  degrees  washes  away 
all  the  gelatine  which  was  not  rendered  insoluble  by  the  action  of  the  light, 
and  the  picture  appears  with  all  its  contrasts,  half-tones  and  high  lights. 

Should  the  development  go  on  too  slowly,  some  more  hot  water  must  be 
added,  ahvays  removing  the  pnnt  from  the  tray  before  each  addition.  In  case  some 
parts  of  the  picture  should  remain  too  dark,  hot  water  may  be  locally  projected 
upon  those  places,  in  which  case  its  action  will  be  mechanical. 

Should  water  of  104  degrees  F.  not  develop  the  picture,  it  indicates  that  the 
exposure  was  carried  too  far.  In  order  to  remedy  this  there  are  two  ways,  either 
to  employ  still  hotter  water  (of  say  1 12  to  115  degrees  F.),  or  to  add  a few  drops 
of  liquor  ammonia  fortis.  When  properly  managed  the  picture  will  come  out 
all  right.  The  development  is  finished  when,  holding  it  inclined,  no  more  black 
particles  are  visible  in  the  water  which  runs  off.  The  picture  is  now  rinsed  with 
cold  water  of  60  to  70  degrees  F. 

If  the  exposure  was  right,  and  the  negative  not  too  thin,  the  picture  on 
development  will  be  very  vigorous,  with  all  desirable  half-tones,  but  if  the  ex- 
posure was  too  short  the  deep  shadows  alone  will  appear,  and  the  half-tones 
during  development  will  be  gradually  washed  away,  and  if  the  development  is 
carried  still  further  the  entire  image  will  disappear. 

If  the  negative  is  too  hard , the  half-tones  will  disappear  partially , and  in  such  a 
case  the  only  remedy  is  to  take  paper  which  had  been  sensitized  two  days  before.  This 
is  the  only  recourse  which  the  practical  carbon  printer  has  when  a negative  is  too 
dense. 

N.B.  (1.)  Never  employ  the  same  water  for  soaking  the  print  which  has 
served  to  develop  or  rinse  a developed  picture;  always  use  fresh  water.  (2.) 
Over- print  a little,  and  after  soaking  the  prints  in  cold  water  use  hot  water  by 
degrees  up  to  112  degrees  F.,  and  the  prints  will  come  out  far  more  brilliant 
and  with  greater  contrasts  than  if  printed  exactly  to  their  photometric  degree 
and  developed  with  not  such  hot  water.  (3.)  When,  after  soaking  the  print, 
too  hot  water  is  employed,  small  air-bells  will  form,  which  are  rather  tenacious, 
and  unfortunately  are  not  easy  to  get  rid  of.  (4.)  A good  plan  is  to  place  the 
picture  carbon  side  down,  after  removal  of  the  tissue  paper,  and  to  allow  it  to 
develop  automatically. 


17 


Failures. — The  most  frequent  failure  is  the  non-adherence  of  the  tissue  to  the 
transfer  paper,  and  during  development  the  picture  separates  from  the  transfer 
paper.  This  is  due  principally  to  a too  rich  bath  of  bichromate,  and  very  often 
happens  during  hot  weather,  the  cause  being  that  the  tissue,  during  drying,  be- 
comes insoluble. 

The  strength  of  the  sensitizing  bath  should  be  as  follows: 


Temperature  from  68  to  76  degrees  F 3 per  cent. 

“ “ 76  to  86  “ 2 “ 

“ “ 86  to  92  “ 1 “ 


Another  cause  of  failure  is  the  formation  of  many  little  air-bells  when  separat- 
ing the  tissue  from  the  transfer  medium.  This  is  due  to  the  fact,  that  for  the  first 
soaking  of  tne  paper  too  hot  water  had  been  employed.  The  remedy  is  water  of  a 
lower  temperature  and  longer  soaking.  The  third  failure  is  the  so-called  “ retie- 
ulation,”  of  which  we  shall  speak  later  on  in  particular.  A slight  alkalinity  of 
the  developing  water  is  favorable,  since  the  gelatine  is  easier  dissolved;  however 
too  much  (expressly  added  carbonate  of  soda  or  ammonia)  causes  reticulation 
or  makes  the  image  granular.  Acid  water  develops  slower,  but  the  pictures  are 
finer  and  stronger. 

Alum  Bath. — This  bath  is  composed  a3  follows  for  single  transfer: 


Finely  powdered  alum 3 to  5 ounces. 

Water 100  “ 


If  the  water  should  be  calcareous,  which  would  make  the  solution  turbid,  from 
3 to  5 drops  of  sulphuric  acid  must  be  added.  For  double  transfer  the 
solution  should  not  contain  more  than  two  per  cent,  of  alum.  This  solution 
must  be  filtered  repeatedly  before  use,  and  as  long  as  it  keeps  clean  may  be  u^ed 
over  and  over  again;  however,  it  is  better  always  to  use  a fresh  bath. 

The  alum  bath  cannot  be  dispensed  with,  for  it  not  only  hardens  the  gelatine, 
but  eliminates  any  trace  of  the  bichromate  which  might  still  be  present,  and 
which,  if  not  neutralized,  would  impart  an  ugly  greenish  color  to  the  picture. 
The  developed  and  well-rinsed  pictures  are  placed  for  from  5 to  10  minutes  in 
the  alum  bath,  and  afterwards  for  at  least  30  minutes  in  a tray  containing  cold 
water,  from  which  they  are  removed,  rinsed  again  in  cold  water  and  hung  up  to 
dry.  The  carbon  picture  when  dry  loses  all  its  relief,  and  becomes  rather 
resistant  to  any  rubbing;  it  even  requires  a little  pressure  to  attack  it  with  a 
scraper. 

Reliculation. — Unfortunately  very  often  during  hot  weather  this  trouble  makes 
its  appearance.  The  picture  on  development  appears  to  be  covered  all  over  with 
a fine  black  net-work  which  destroys  its  delicate  appearance,  and  (holding  the 
picture  horizontally  against  the  light)  looks  as  if  it  had  lost  all  its  gloss.  This 
defect  can  be  produced  at  will  by  the  carbon  printer,  for  it  is  only  necessary  to 
immerse  the  carbon  paper,  when  effecting  the  transfer,  in  water  of  88  degrees  F. 
instead  of  cold  water.  Therefore  to  avoid  it  employ  water  of  not  more  than  58 
degrees  F.,  and  use  an  ample  supply  in  the  tray,  always  keeping  the  paper  under 
its  surface.  The  warmer  the  weather  the  cooler  must  the  water  be  for  the  transfer 
operations.  The  addition  of  salicylic  acid  to  the  sensitizing  bath,  as  indicated  on 
page  11,  has  been  recommended,  and  generally  produces  a good  result.  Too 
strong  sensitizing  baths  during  warm  weather  also  cause  reticulation. 

Relouching  and  Mounling. — The  retouching  of  the  picture  is  easy.  It  is  first 
rubbed  over  with  finely  powdered  cuttle-fish  bone.  The  stump  should  be  charged 


18 


with  finely  ground  lamp-black  and  carmine,  or,  still  better,  caput  mortuum . The 
scraper  can  be  used  to  produce  bright  high  lights.  After  successful  retouching 
the  picture  is  rubbed  with  a soft  flannel  tuft  soaked  in  the  following  solution: 


White  wax I part. 

Warm  benzine iq  carts. 


Do  not  use  till  cold.  The  pictures  allow  of  being  burnished  and  may  be  rubbed 
before  or  after;  burnishing  first  and  applying  the  wax  lubricator  later,  gives  a 
better  result.  The  mounting  may  be  done  in  the  usual  way  on  Bristol  board, 
but  care  must  be  taken  that  the  paste  does  not  touch  the  picture  side,  for  it  would 
not  be  easy  to  wipe  it  off,  since  the  carbon  print  when  moistened  becomes  rather 
delicate.  When  in  the  right  place  cover  it  with  a piece  of  stout  paper  and  rub 
down  well  to  insure  good  contact  with  the  card-board. 


CHAPTER  VIII. 

Double  Transfer  Process. 

The  lighting  of  the  room,  exposure  of  the  tissue  to  the  light,  etc.,  are  all  the 
same  as  for  single  transfer,  but  as  the  picture  comes  right  no  reversed  negatives 
are  required.  The  entire  process  can  be  summarized  as  follows: 

The  exposed  carbon  tissue  is  placed  in  cold  water ; pressed  on  to  a glass  or  porce- 
lain plate , which  has  previously  been  rubbed  with  waxing  solution ; developed  with 
warm  water;  passed  through  the  alum  bath ; dried;  again  placed  in  cold  water  and 
pressed  into  contact  with  the  double  transfer  paper , and ’ when  perfectly  dry , separated 
from  the  plate.  This  process  furnishes  pictures  with  a high  gloss. 

Ordinary  glass  plates  can  be  used,  but  if  really  fine  work  is  desired  it  is  neces- 
sary to  employ  French  glass  of  from  4 to  5 centimeters  thick.  Beginners  do  better 
to  use  opal  glass,  for,  as  it  is  white,  the  intensity  of  the  print  is  far  easier  seen. 
It  requires  some  practice  to  be  able  to  estimate  the  strength  of  a carbon  print  on 
glass.  Ground  plates  furnish  prints  which  are  “matt,”  i.  e. , have  a finely  grained 
appearance.  The  carbon  picture  takes  exactly  the  same  character  as  the  support 
employed,  and  special  care  must  be  used  when  selecting  the  plates,  for  any 
scratch  or  defect  in  them  will  show  in  the  carbon  print. 

Larger  sized  plates  offer  a great  advantage,  for  they  allow  of  simplifying  many 
of  the  operations,  and  it  is  just  as  easy  to  handle  a 20  x 24  plate  as  a 10  x 8.  Of 
course  they  require  larger  developing,  transfer  and  alum  trays. 

Having  selected  a faultless  plate,  it  is  first  well  cleaned  by  means  of  caustic 
potash  and  some  drops  of  liquor  ammonia  fortis,  well  dried  and  dusted,  and  then 
taking  a small  piece  of  flannel,  which  is  slightly  dipped  'nto  the  waxing  solution, 
made  as  already  described,  the  plate  is  carefully  rubbed  all  over.  After  30 
minutes  it  is  laid  flat  on  a board,  and  by  means  of  a dry,  clean  piece  of  white 
flannel  is  polished.  The  polishing  must  be  done  with  very  slight  pressure,  in 
order  not  to  rub  off  the  wax,  for  if  this  should  happen  the  picture  would  not 
separate  from  the  plate.  It  is  best  not  to  polish  new  plates,  but  to  employ  them 
waxed  alone.  Be  careful  never  to  breathe  on  a plate  while  waxing  or  polishing. 
Should  it  be  necessary  to  free  it  from  the  wax,  rub  with  a piece  of  flannel  well 
soaked  in  benzine.  The  plates  which  have  been  used  for  transfer  do  not  require 


any  more  cleaning,  the  particles  of  collodion  or  tissue  which  remain  on  them 
can  be  scraped  off  with  a flat  table  knife.  Having  waxed  and  polished  the 
plates  they  are  now  left  on  the  folding  rack,  being  careful  to  protect  them  against 
dirt  and  dust. 

Collodionizing. — This  is  done  in  the  usual  way,  but  for  those  who  may  be 
unfamiliar  with  it,  the  following  directions  should  be  followed.  A well-dusted 
plate  is  taken,  and  holding  it  horizontally  with  the  index,  middle  finger  and 
thumb  of  the  left  hand,  the  collodion  is  poured  upon  it  (in  a steady  stream  and 
in  sufficient  quantity  to  well  cover  the  plate)  close  to  the  left  upper  corner. 
Allow  the  collodion  to  cover  this  end  of  the  plate,  then  incline  it  a little  to  the 
right  side  and  the  collodion  will  run  to  that  corner.  Now  raise  the  upper  part 
of  the  plate  and  it  will  run  towards  the  end  where  the  plate  is  held,  and  from 
there  over  to  the  right  lower  end,  from  which  allow  it  to  run  into  a second  vial, 
which  meanwhile  had  been  taken  in  the  right  hand.  A little  practice  will  soon 
be  acquired  and  not  much  collodion  will  be  wasted.  Plates  uptoi4xi7  may 
be  col.'odionized  in  this  way.  For  larger  plates  a very  convenient  contrivance  is 
a glass  bottle  with  a cork,  on  which  the  plate  is  rested  and  directed  by  the  left 
hand. 

N. B.  ist.  Always  use  filtering  paper  Between  your  fingers  and  the  plate,  for 
if  this  is  not  done,  spots  frequently  appear  in  the  collodion  where  they  have  sup- 
ported the  plate,  being  due  to  the  faster  evaporation  produced  bv  the  warmth  of 
the  fingers.  2d.  Always  pour  enough  collodion  to  fully  cover  the  plate,  for  if 
you  again  had  to  pour  on  more,  lines  and  marks  would  appear  where  the  first 
and  last  pourings  meet.  3d.  Never  pour  the  collodion  on  one  place  alone, 
for  the  ether  might  dissolve  the  wax  on  the  plate  and  the  picture  would  not 
separate. 

Allow  fully  two  minutes  for  each  plate  to  get  sufficiently  dry,  and  immerse 
in  the  reservoir  tray,  proceeding  as  follows:  Place  the  plate  in  an  upright  and 
slightly  inclined  position,  collodionized  side  against  t-he  side  of  the  tray,  and  see 
that  it  is  well  covered  by  the  water ; do  the  same  with  the  following  plates,  which 


Fig.  7. 


The  heavy  lines  indicate  the  collodionized  side. 

will  easily  be  understood  by  a glance  at  the  cut.  Having  immersed  all  the  plates, 
they  must  remain  in  the  water  for  at  least  twenty-five  minutes , but  no  harm  will 
ensue  if  they  remain  for  hours.  , 


20 


N.B.  ist.  Allowing  less  than  two  minutes  for  the  setting  of  the  collodion 
would  produce  an  opalescent  appearance  in  the  lighter  parts  of  the  carbon 
picture  or  breaking  of  the  collodion  film  when  separating  the  tissue  for  or  during 
development.  Allowing  more  time  makes  the  collodion  too  horny  and  the 
carbon  tissue  will  not  stick  to  it.  2d.  Be  sure  that  the  water  in  the  reservoir 
tray  is  perfectly  clean,  and  protect  it  against  any  dust  while  the  plates  are  in  it, 
for  that  would  adhere  to  the  collodion.  3d.  When  withdrawing  a plate  from  the 
tray  it  must  always  be  washed  all  over  with  clean  water,  which  should  run  off 
freely  from  the  plate  and  thus  show  that  no  more  alcohol  is  present  in  the  col- 
lodion film. 

First  Transfer. — Having  filled  the  tray  with  clean  cold  water  (58  degrees  or 
less),  and  having  subdued  the  light,  take  a carbon  tissue  sheet,  dust  it  well  on 
both  sides,  and  immerse  it,  carbon  side  up,  in  the  water.  Use  the  camel’s  hair 
brush  to  remove  any  adherent  air-bells.  Turn  it  over,  and  repeat  this  operation, 
always  keeping  it  under  water , for  if  this  is  not  done  reticulation  might  appear. 

The  carbon  paper  first  rolls  up,  but  after  about  a minute  it  flattens  out  and 
then  rolls  up  again,  this  time  with  the  carbon  side  outwards.  When  it  begins  to 
lay  flat,  take  a plate  from  the  reservoir  tray,  give  it  a good  wash  with  clean  cold 
water,  and  lay  it,  collodion  side  up,  on  the  table  or  developing  board.  The 
carbon  tissue  is  now  taken  by  two  corners  and  the  water  allowed  to  run  off,  and 
as  soon  as  only  drops  form  it  is  laid  carefully,  carbon  side  down,  upon  the  col- 
lodionized  plate,  care  being  taken  that  no  air-bells  remain  between  them.  It  is 
a good  plan  to  hold  the  carbon  paper  by  two  diagonally  opposite  corners,  and 
lower  it,  the  center  or  sunken  part  first,  upon  the  plate,  and  allow  the  sheet  to 
lay  flat  by  itself.  Care  must  be  taken  that  it  is  placed  well  upon  the  plate,  for 
the  collodion  film  does  not  stand  much  moving  to  and  fro  of  the  tissue  paper. 
Should  it  be  necessary  to  remove  the  tissue,  in  order  to  place  it  more  accurately, 
it  can  be  done,  but  before  replacing  it  upon  the  plate  it  should  be  placed  for  a 
moment  in  the  cold-water  tray.  Being  in  its  right  place,  the  tissue  is  now 
covered  with  the  rubber-cloth  (cloth  side  in  contact  with  it)  and  the  squeegee  is 
now  applied,  striking  always  from  the  center  towards  the  borders  and  using  first 
gentle  and  afterwards  a little  more  pressure.  Bear  in  mind  that  the  carbon  tissue 
should  never  lap  over  the  plate,  and  care  must  be  taken  to  cut  the  paper  always 
of  such  dimensions  that,  while  wet,  it  is  not  so  large  as  the  transfer  plate;  £ to  J 
inch  less  each  way  will  do.  Remove  the  rubber-cloth  and  examine  whether  the 
tissue  is  in  intimate  contact  all  over  the  plate.  Should  some  places  show  which 
appear  as  if  a little  raised,  this  indicates  that  there  is  air  between  the  tissue  and 
the  plate,  and  the  rubber-cloth  and  squeegee  must  be  employed  again. 

If  the  desired  result  is  not  obtained,  the  paper  may  be  removed  by  gentl) 
drawing  it  with  an  upward  motion,  and  being  very  careful  not  to  break  the  col- 
lodion film.  Then  place  the  tissue  paper  again  for  one  second  in  the  cold  water, 
carefully  replace  upon  the  glass  plate,  and  apply  the  rubber-cloth  and  squeegee 
again. 

If  everything  is  found  satisfactory,  dry  the  borders  of  the  paper  and  its  back 
by  means  of  a soft  towel  or  sponge,  being  careful  not  to  hurt  the  projecting  col- 
lodion. The  drying  of  back  and  borders  of  the  tissue  paper  must  never  be  omitted 
Proceed  in  the  same  way  with  all  the  papers  and  plates  and  lay  one  on  top  of.  the 
other. 

I-t  sometimes  happens  that  the  borders  of  the  tissue  do  not  adhere  to  the  col- 


21 


lodion,  and  in  such  a case  covering  it  with  a glass  plate  and  using  pressure  from 
a quarter  to  half  an  hour  will  be  necessary. 

Development. — Having  made  the  transfer,  fifteen  minutes  at  least  must  be 
allowed  before  proceeding  to  the  development,  but  an  hour  is  better.  The 
development  may  be  made  still  later,  provided  the  papers  are  covered  with  a 
glass  plate  to  prevent  them  from  drying.  Developing  sooner  than  ten  minutes 
after  the  transfer  generally  causes  reticulation.  It  is  not  necessary  to  use  a plate 
for  each  tissue  paper,  for  if  there  are,  for  instance,  two  pieces  5 x 8 of  same  ex- 
posure, they  may  be  transferred  upon  a 8 x 10  plate.  After  acquiring  a little 
practice  in  developing,  no  great  difficulties  will  be  met  in  handling  plates  on 
which  two  or  more  prints  have  been  transferred,  and  which  are  of  different  im- 
pression. 

As  regards  the  development,  it  is  good  to  again  read  over  what  was  explained 
when  describing  the  single  transfer  process,  as  the  manipulations  are  exactly  the 
same. 

The  alum  bath  must  not  be  stronger  than  two  per  cent.  The  plates,  after 
being  immersed  in  it,- are  placed  for  half  an  hour  in  a tray  containing  clean  cold 
water  of  60  or  76  degrees  F.,  each  getting  a good  wash,  and  are  then  placed  on 
the  folding  rack  to  dry,  which  takes  about  six  hours.  Never  place  the  pictures 
face  to  face,  nor  put  them  in  an  air  draught  or  too  warm  a room,  or  the  prints 
might  separate  from  the  plates.  The  wet  carbon  pictures  must  also  be  carefully 
protected  against  dust,  for  it  would  be  very  difficult  to  remove  any  that  might 
adhere  to  them. 

Always  use  fresh  water  baths  for  each  development,  for  if  a picture  is  devel- 
oped in  the  water  which  has  been  used  for  another,  small  carbon  spots  are  likely 
to  appear  in  the  second  one.  It  is  rather  difficult  to  free  a picture  of  these 
small  spots;  applying  a fine  sable  brush  dipped  in  hot  water  sometimes  succeeds, 
but  not  always. 

Rttouching  and  Spotting  Out. — Should  there  be  necessity  for  retouching,  spot- 
ting out  or  darkening  certain  places  of  the  picture,  it  must  be  done  before  the 
second  transfer  is  made,  for  it  would  show  too  much  when  done  after  that.  Re- 
touching is  done  in  two  ways;  either  by  means  of  oil  colors  and  brushes,  or  with 
the  stump  and  finely  ground  lamp-black,  carmine,  caput  mortuum,  or  graphite.  If 
the  retouching  is  done  with  dry  colors  it  is  best  to  flood  the  carbon  picture  with 
a solution  made  of  1 part  glycerine  in  25  parts  water  and  allow  it  to  dry.  Plates 
prepared  in  this  way  take  the  dry  colors  very  readily. 

Second  Tra?isfer. — The  so-called  double  transfer  paper  is  also  made  by  the 
carbon  paper  manufacturers,  and  it  will  be  found  convenient  to  buy  it.  However 
it  may  be  prepared  as  follows:  10  ounces  of  gelatine  are  dissolved  in  100  ounces  ot 
water;  when  liquefied  from  i-J  to  2 ounces  of  glycerine  are  added,  and  while  this 
solution  is  still  warm,  10  ounces  of  saturated  solution  of  chrome  alum  are  added, 
but  this  must  be  done  drop  by  drop  and  with  thorough  stirring.  If  a very  fine 
surface  is  wanted,  a convenient  quantity  of  sulphate  of  baryta  may  be  added. 
The  baryta  is  placed  upon  a grinding  slab  and  is  finely  incorporated  while  add- 
ing the  gelatine  solution  by  degrees;  the  chrome  alum  solution  is  added  last. 
The  covering  of  the  paper  is  done  by  floating  on  or  drawing  it  over  the  warm 
solution.  Fresh  double  transfer  paper  is  soluble  at  about  95  degrees  F. ; older 
papers  require  a higher  temperature,  and  often  even  boiling  water  will  not  have 
any  effect  on  them;  in  such  a case  the  paper  is  useless. 


22 


The  second  transfer  manipulations  can  be  conducted  in  full  daylight.  The 
transfer  papers  having  been  cut  a little  smaller  in  size  than  the  glass  plates,  are 
placed,  after  having  been  dusted  on  both  sides,  in  a tray  containing  clean  cold 
water  (of  60  to  70  degrees).  The  tray  should  be  well  filled,  and  the  papers 
should  remain  from  5 to  10  minutes  in  the  water,  but  an  immersion  of  even  two 
hours  would  not  produce  any  bad  effects.  One  of  the  plates  with  the  dry  carbon 
picture  upon  it  is  now  carefully  dusted  and  immersed  for  just  one  second  in  cold 
clean  water,  placed  upon  the  table,  picture  upwards,  and  a piece  of  the  double 
transfer  paper  is  withdrawn  from  its  tray  and  immersed  in  a tray  containing  hot 
water  (from  95  to  150  degrees  or  more,  according  to  the  solubility  of  the  paper) 
where  it  has  to  remain  until  the  gelatinous  covering  of  the  paper  becomes  slimy. 
It  is  now  placed  with  its  gelatine  side  downwards  upon  the  glass  plate.  Being  in 
its  right  place,  cover  with  the  rubber  cloth  T,  cloth  side  down,  and  apply  the 
squeegee,  using  first  gentle  and  afterwards  more  pressure,  and  striking  always  from 
the  center  to  the  borders. 

N.  B.  (1.)  Should  water  of  140  degrees  F.  not  soften  the  gelatine  of  the 
double  transfer  paper,  a small  lump  of  carbonate  of  soda,  or  a few  drops  of 
liquor  ammonia  fortis  may  be  added.  If  one  or  the  other  of  these  additions 
does  not  produce  the  softening  of  the  gelatine,  it  will  be  proof  that  the  paper  has 
become  insoluble,  and  fresh  paper  must  be  employed.  (2.)  If  the  water  is  too 
hot,  or  if  the  double  transfer  paper  remains  too  long  in  it,  it  may  happen  that 
the  gelatine  will  be  liquefied,  when  it  must  not  be  used.  If  the  water  was  not 
hot  enough,  or  the  paper  had  not  remained  a sufficient  time  in  it,  it  happens  that 
the  transfer  paper  does  not  adhere  well  to  the  carbon  print,  and  in  drying  there 
will  appear  many  brilliant  spots  in  the  picture,  principally  where  the  high  lights 
are,  and  around  the  outlines  of  the  deep  shadows.  This  same  defect  appears 
also  if  the  plate  has  been  immersed  in  warm  or  hot  instead  of  cold  water.  If 
the  cold  water  remains  too  long  upon  the  carbon  picture  its  final  appearance 
often  will  be  granular.  (3.)  If,  in  drying,  the  transfer  paper  peels  off  the  plate 
without  the  carbon  picture,  this  is  generally  from  the  picture  remaining  too  long 
in  the  alum  bath,  or  that  the  water  in  which  the  transfer  paper  has  been  soaked 
was  too  warm  and  dissolved  the  gelatine.  (4.)  If  the  paper,  when  dry,  cannot  be 
separated  from  the  plate,  or  at  some  places  sticks  to  it  (principally  in  the  lighter 
parts  of  the  picture),  it  was  caused  by  too  hard  rubbing  the  plate  when  polishing 
the  waxing  solution;  or  that  the  flannel  used  for  this  operation  was  not  dry;  or 
that  the  paper,  when  effecting  the  first  transfer,  had  been  left  too  long  before 
developing. 

Having  affected  the  second  transfer,  the  plates  are  placed  upon  the  folding 
rack,  where  they  have  to  remain  until  fully  dry,  which  takes  place  in  3 to  6 hours, 
according  to  the  temperature  and  dryness  of  the  air.  During  dry  weather  care 
must  be  taken  not  to  place  the  plates  in  a strong  current  of  air,  for  the  unavoid- 
able consequence  would  be  that  the  papers,  either  partially  or  in  to/o,  would  sep- 
arate from  the  glasses,  showing  an  uneven  gloss.  When  fully  dry,  the  papers  are 
separated  from  the  plates  by  inserting  the  blade  of  a pen-knife  under  one  of  the 
corners.  It  comes  off  with  a brilliant  gloss. 

In  order  to  preserve  this  high  gloss,  when  mounting  the  pictures  on  Bristol 
board  a special  method  as  regards  the  paste  or  glue  must  be  followed,  for  if  the 
pictures  were  covered  on  their  backs  with  paste  or  glue  they  would  lose  their 
gloss,  and  afterwards  show  only  a brilliancy  like  albumen  prints.  The  carbon 


23 


pictures  are  trimmed  to  shape  with  large  scissors;  laid,  with  their  carbon  side 
downwards,  upon  a glasi  plate,  and  some  strong  and  hot  glue  then  applied  only 
to  the  borders;  they  are  placed  in  position  upon  the  card-board,  covered  with  a 
sheet  of  moderately  stout  paper,  and  pressed  on  by  means  of  a paper-cutter,  or 
weighted  with  a heavy  glass  plate,  or  some  other  pressure  is  employed.  Care 
must  be  taken  not  to  allow  any  glue  to  touch  the  carbon  side,  for  it  would  take 
away  the  gloss  from  that  part  of  the  picture. 

An  easy  way  to  preserve  the  gloss  of  a carbon  picture  is  the  following:  Half 
an  hour  after  having  made  the  second  transfer,  paste  upon  the  transfer  another 
somewhat  larger  sheet  of  ordinary  paper  which  had  been  previously  damped. 
Turn  over  the  borders  to  the  back  of  the  plate  at  two  opposite  sides  and  press 
them  on.  Upon  this  second  sheet  three  or  more  others  may  be  pasted,  thus  form- 
ing a card-board.  The  drying,  of  course,  will  take  some  hours  longer,  but  the 
appearance  of  a carbon  print  mounted  in  this  way  is  really  pretty,  and  compen- 
sates for  the  trouble  taken.  When  thoroughly  dry,  the  picture  may  be  separated 
from  the  plates,  as  indicated  above,  and  trimmed  to  shape.  Three  or  fouj  pieces 
of  double  transfer  paper  may  be  used  instead  of  the  ordinary  papers,  but  the 
second  sheet  should  always  be  larger  than  the  plate  and  doubled  to  the  back  and 
pasted  on  to  it.  This  assures  fast  drying,  and  does  not  separate  the  paper  from 
the  plate  before  being  thoroughly  dry. 


CHAPTER  IX. 

Transfer  to  Supports  Other  than  Glass. 

Double  Transfer  w th  Zinc  Plaies. — There  is  only  a small  difference  between 
this  and  the  former  process.  In  place  of  glass  or  porcelain  plates,  zinc  plates 
are  employed,  and  the  collodionizing  may  be  dispensed  with.  The  appearance 
of  the  picture  depends  upon  the  class  of  zinc  plates  used;  i.  e. , if  finely  polished 
plates  are  used,  glossy  pictures  like  albumen  prints;  if  granulated  plates,  pictures 
without  any  gloss  will  result.  The  zinc  plates  should  be  well  planed,  free  from 
any  defects  on  one  side,  and  of  about  ^-inch  thickness.  New  plates,  or  such  as 
have  not  been  in  use  for  some  time,  are  covered  with  a layer  of  oxide,  which 
can  only  be  removed  with  great  trouble  and  which  imparts  a grayish  color  to  the 
first  few  pictures  developed  upon  them.  For  use  they  must  either  be  treated  in 
the  same  way  as  a glass  or  porcelain  plates,  or  with  the  following  solution: 


Pure  white  or,  preferably,  yellow  wax I part. 

Rosin 1 “ 

Benzoline  or  spirits  of  turpentine 5°  Parts. 


The  plates  after  having  been  dusted  are  rubbed  with  a piece  of  soft  linen  or  flannel 
dipped  in  the  above  solution.  Some  minutes  are  allowed  for  drying,  and  then 
they  are  polished  in  the  same  way  as  a glass  plate.  Only  a gentle' pressure  must 
be  employed  whilst  polishing.  All  the  other  operations  as  regards  first  transfer, 
developing,  alum  bath,  and  second  transfer  are  identical  with  those  of  glass  plates, 
only  the  retouching  must  be  done  after  the  second  transfer. 

Double  Transfer  with  Flexible  Supports.—  The  flexible  supports  are  furnished 
by  any  dealer  in  carbon  materials,  but  for  those  who  would  like  to  prepare  them, 
the  following  information  is  given. 


A smooth  white  paper  of  sufficient  strength  is  immersed  for  from  5 to  10 
minutes  in  a nearly  saturated  solution  of  unbleached  shellac  (which  imparts  to  it 
a nice  pink  color),  and  is  hung  up  to  dry.  The  paper  may  also  be  treated  with 
an  aqueous  solution  of  shellac  prepared  as  follows: 


Uubleached  shellac 4 parts. 

Powdered  borax “ 

Boiled  in  water. 35  “ 


Whilst  this  solution  is  still  hot,  the  papers  are  immersed  in  it,  one  by  one,  for  five 
minutes,  then  withdrawn  and  hung  up  to  dry.  If  these  papers  are  required  to 
show  a very  smooth  surface,  they  may  be  passed  through  the  burnisher,  which 
should  not  be  too  hot.  Before  use  the  flexible  supports  must  be  treated  with  the 
waxing  solution,  made  as  follows : 


Pure  wax I part. 

Rosin 1 «* 

Benzoline  (heated  in  a water  or  sand  bath) 50  parts. 


Or  \ part  rosin  and  \ part  gum  dammar  may  be  substituted.  The  waxing  is  don^ 
in  the  same  way  as  with  zinc  plates. 

The  flexible  supports  should  always  be  a little  larger  than  the  carbon  prints. 
Immerse  the  support,  glossy  side  uppermost,  in  a tray  containing  abundant  and 
pretty  cold  water.  After  about  one  minute  they  will  flatten  out.  The  carbon 
paper  is  also  immersed  in  cold  water,  either  in  the  same  tray  or  a second  one, 
freed  from  any  air-bells,  and  brought  into  contact  (under  water)  with  the  glossy 
side  of  the  support;  withdrawn  from  the  tray,  placed  upon  a glass  plate  or  smooth 
board,  and,  applying  the  rubber-cloth  and  squeegee,  pressed  into  intimate  contact. 
Having  withdrawn  the  rubber-cloth,  the  borders  and  back  of  the  carbon  paper  are 
carefully  wiped,  and  it  is  hung  up  to  dry.  Small  sheets  may  be  suspended  by  one 
wood  clip,  larger  sheets  require  from  two  to  three.  After  from  1 5 to  30  minutes  the 
development  may  be  made,  proceeding  in  exactly  the  same  way  as  already  de- 
scribed. The  developed  picture  must  remain  for  about  ten  minutes  in  an  alum 
bath  of  2 per  cent.,  and  from  there  must  be  placed  for  about  thirty  minutes  in 
clean  cold  water.  Soaking  a piece  of  double  transfer  paper  in  cold  and  hot  water 
as  described,  it  is  placed  upon  the  flexible  support  and  squeegeed  into  intimate 
contact.  Both  the  rubber-cloth  and  squeegee  employed  for  the  second  transfer 
should  always  be  used  for  this  purpose  only.  Wipe  the  borders  and  back  of  the 
transfer  paper  and  hang  up  to  dry.  When  fully  dry  it  may  be  separated  in  the 
usual  way  from  the  flexible  support,  which  can  be  used  repeatedly,  all  that  is 
necessary  being  to  free  it  from  any  adhering  carbon  or  paper  particles;  rub  with 
the  waxing  solution,  and  polish  as  indicated  above.  The  polishing  is  best  done 
with  a soft  linen  towel.  The  mounting  of  such  pictures  must  be  done  only 
when  they  are  perfectly  dry.  They  are  trimmed  by  means  of  large  paper 
scissors.  The  best  way  to  mount  them  is  to  pass  a brush  charged  with  thick 
hot  glue  around  the  borders,  and  rub  them  on  to  the  card-board.  Paste  or  gum 
arabic  may  also  be  used,  but  care  must  be  taken  not  to  get  any  paste  upon  the 
picture  side,  the  latter  producing  a less  glossy  appearance  of  the  picture  when 
dry. 

Retouching  Transferred  Pictures. — Transferred  prints,  without  the  employ- 
ment of  collodion,  can  be  retouched  in  the  same  way  as  albumen  prints,  the  only 
precaution  being  to  rub  with  a piece  of  linen  dipped  into  benzoline  or  spirits  of 


25 


turpentine  in  order  to  free  them  from  greasiness  Parts  of  the  picture  which 
would  show  too  dark  may  be  rubbed  down  with  inely  ground  pi  m ice-stone. 
High  lights  are  produced  by  the  scraper.  The  st.  mp,  charged  with  a mixture 
of  equal  parts  of  the  finest  lamp-black  and  carmine  powder,  may  be  used  for  the 
larger  parts  to  darken  them.  The  retouching  of  small  spots  may  te  done  by 
taking  a piece  of  carbon  paper  which  has  been  dipped  into  hot  water,  and  with  a 
fine  brush  taking  from  the  liquefied  carbon  as  much  as  is  wanted  to  block  up 
the  spot.  In  this  case  the  retouching  consists  of  the  same  material  as  the  picture, 
but  in  order  to  render  these  spots  stable,  the  brush  must  be  dipped  into  a weak 
solution  of  chrome  alum. 

Burnishing  and  Varnishing. — Carbon  pictures  may  be  burnished  in  the  same 
way  as  albumen  prints.  In  employing  a heated  burnisher  however,  the  pictures 
must  be  warmed  before  passing  them  through  the  rollers,  for  any  trace  of  moisture 
would  show  itself  in  a rather  ugly  way.  The  varnishing  is  best  done  by  using  a 
saturated  solution  of  wax  in  benzole;  an  alcohol  varnish  of  medium  strength  or  a 
ten  per  cent,  solution  of  gum  dammar  in  benzole  may  also  be  employed.  Rub- 
bing the  pictures  with  cerat  or  ceroline  imparts  a nice  gloss  to  them,  preserving 
them  effectually  against  any  moisture. 

Second  Transfer  of  Pictures  on  Flexible  to  other  Supports , as  Alba  or 
Wood  Plates , Canvas,  Card-board, \ Porcelain , etc. — The  carbon  picture,  after 
having  been  dried  upon  the  flexible  transfer  paper,  may  be  retransferred  to  any 
plane  surface,  provided  tnai  it  is  covered  with  gelatine.  Carbon  pictures  on 
alba  plates  or  porcelain  are  of  a really  extraordinary  beauty.  The  gelatine  solu- 
tion is  prepared  as  follows:  20  ounces  gelatine  are  dissolved  in  400  ounces 
water,  and  just  before  use  a solution  of  1 ounce  chrome  alum,  dissolved  in  20 
ounces  water,  is  added  to  it  drop  by  drop,  always  whilst  stirring  vigorously. 
This  solution  may  be  spread  over  the  plate  whilst  still  warm.  A broad  camel’s 
hair  brush  may  be  used,  passing  it  first  lengthwise  and  afterwards  crosswise  over 
the  plate.  Having  been  so  covered,  and  care  having  been  used  to  avoid  air-bells 
forming,  the  plates  are  allowed  to  dry.  The  transfer  is  effected  as  follows:  The 
flexible  support,  as  well  as  the  gelatinized  plate,  are  immersed  in  cold  water  and 
brought  into  contact;  they  are  then  withdrawn  and  the  squeegee  is  applied  with 
gentle  pressure.  When  fully  dry  the  flexible  transfer  is  withdrawn,  leaving  the 
carbon  print  adhering  to  the  plate  or  wood-board.  For  porcelain  or  opal  plates, 
or  mica,  the  proceeding  is  exactly  the  same.  The  transfer  to  card-board,  or  into 
a book  or  album,  is  made  in  the  following  way:  The  carbon  print  whilst  still 
wet  is  floated  upon  a warm  solution  of  1 part  gelatine  in  5 parts  water,  and 
hung  up  to  dry.  Being  quite  dry  it  is  again  floated  on  a strong  solution  of 
white  sugar  in  water  and  dried  again.  The  place  which  me  carbon  picture  is  to 
occupy  on  the  card-board  or  in  the  album  is  gelatinized  by  means  of  a brush 
and  allowed  to  dry.  The  carbon  picture  is  trimmed  to  the  desired  shape;  the 
picture,  as  well  as  the  gelatinized  place,  is  moistened,  and  it  is  placed  carefully 
into  position,  always  avoiding  any  air-bells  between  the  two.  Light  squeegeeing 
is  applied  and  a light  pressure  is  resorted  to  whilst  drying.  When  fully  dry,  the 
flexible  support  peals  off  by  itself.  The  transfer  of  carbon  pictures  upon  wood 
plates  for  xylographic  purposes,  since  an  inverted  image  is  warned,  may  be  done 
by  simply  effecting  one  transfer  only  and  developing  the  picture  when  on  the 
wood.  The  plate  is  covered  with  the  above-mentioned  gelatine  solution  and 
allowed  to  dry.  The  transfer  is  made  exactly  in  the  same  manner  as  described 


26 


under  single  transfer,  and  developmeni  may  be  made  after  five  minutes.  The 
picture  is  washed  in  cold  water,  no  alum  bath  being  used,  and  is  allowed  to  dry 
slowly  without  heat. 

Second  Transfer  to  Canvas  for  Oil  Painting. — The  important  question  to  be 
considered  here  is  that  such  an  absolute  and  intimate  contact  between  the  can- 
vas and  the  carbon  is  secured  that  a peeling  off  of  the  carbon  picture  is  almost 
impossible.  Canvas,  as  generally  used  by  oil  painters,  is  stretched  upon  a board 
and  its  surface  is  rubbed  all  over  with  a strong  bristle  brush  dipped  in  sufficiently 
strong  potash  ley.  The  brush  must  be  employed  until  the  fiber  of  the  canvas 
shows,  being  careful  not  to  rub  so  hard  as  to  open  the  spaces  between  the 
threads,  which  must  by  all  means  remain  filled.  When  fully  dry  the  canvas  is 
covered  three  times  with  a thin  gelatine  solution  made  as  follows: 

Gelatine 40  ounces. 

Water 400  ** 

to  which,  whilst  still  warm,  a solution  of 

Chrome  alum 1 ounce. 

Water 20  ounces. 

is  added  drop  by  drop.  After  each  application  of  the  gelatine  the  canvas  is 
allowed  to  dry  thoroughly.  The  carbon  print  being  upon  the  flexible  support  is 
not  allowed  to  dry,  but  while  still  wet  is  placed  upon  the  canvas  which  has  pre- 
viously been  wetted  with  cold  water.  Rubber-cloth  and  squeegee  are  applied  in 
the  usual  way,  After  drying  the  support  is  separated  from  the  canvas. 


CHAPTER  X. 

Transparencies — Colored  Pictures. 

Transparencies  on  Glass. — The  ease  and  certainty,  as  well  as  the  cheapness, 
of  this  process  will  always  induce  its  workers  to  adhere  to  it.  The  beautiful  re- 
sults obtained  in  carbon  transparencies  will  most  assuredly  stand  unrivaled.  The 
tissue  required  for  transparencies  is  a special  one,  i.  e. , it  is  charged  with  much 
more  coloring  matter  than  the  ordinary  carbon  tissue.  Its  sensitizing  and  dry- 
ing is  done  in  the  same  manner  as  already  described.  The  exposure  to  the 
light  has  to  last  at  least  double  the  time  required  for  paper  pictures.  The 
exposed  paper  is  immersed  in  cold  water  and  squeegeed  to  a well-cleaned  glass 
plate,  allowed  to  remain  in  contact  for  ten  minutes  and  developed.  It  is  then 
washed,  passed  through  the  alum  bath,  and  dried.  Plates  with  the  carbon  pict- 
ures upon  them  which  are  destined  for  the  magic  lantern  must  be  pasted  to 
clear  glass  plates,  mounting  them  in  the  usual  fashion;  but  those  intended  for 
transparencies  are  mounted  with  ground  glass. 

Coloring  Carbon  Pictures. — Carbon  pictures  developed  upon  collodionized 
plates  may  be  colored  in  many  ways.  Since  the  gelatine  absorbs  the  colors  in 
proportion  to  its  thickness,  fluid  colors  as  well  as  solutions  may  be  used,  the 
latter  by  double  decomposition  producing  colored  deposits.  The  coloring  may 
serve  either  to  change  the  color  of  the  carbon  print;  to  strengthen,  or  better,  to 
intensifv  it.  A saturated,  or  diluted,  solution  of  permanganate  of  potash  flowed 
over  the  still  wet  carbon  print  imparts  to  it  a more  or  less  intense  olive-green 
tint.  This  color  is  not  very  pleasant  to  the  eye,  but  is  of  great  importance  for 


27 


the  multiplication  of  negatives,  since  it  intensifies  the  image  to  a much  higher 
degree  than  the  eye  would  be  able  to  perceive.  Beautiful  purple  tints  are  ob- 
tained by  the  employment  of  purple  solutions,  or  artificial  alizarine  dissolved  in 
water,  to  which  some  addition  of  liquor  ammonia  has  been  made.  Aniline 
colors  may  also  be  employed,  but  as  they  are  not  fast  colors  they  should  not  be 
used  on  pictures  which  are  exposed  to  light,  as  window  transparencies,  etc.  A 
beautiful  dark  violet  color  is  obtained  by  conforming  to  the  late  Dr.  von  Monk- 
hoven’s  formula,  viz.,  three  solutions  prepared  as  follows: 


A.  4 per  cent,  solution. 

Sulphate  of  peroxide  of  iron 40  grams. 

Water 1 liter. 

B.  4 Per  cent,  solution. 

Carbonate  of  soda,  c.  p 40  grams. 

Water 1 liter. 

C.  1 per  cent,  solution. 

Gallic  acid ro  grams. 

Water 1 liter. 


The  carbon  picture  is  immersed  for  five  minutes  in  bath  A,  washed  with  clean 
cold  water  for  a few  seconds,  and  immersed  for  ten  minutes  in  bath  B,  from 
which  it  is  withdrawn  and  washed  again.  Holding  the  plate  against  the  light  it 
will  be  found  to  have  assumed  a slight  reddish  tint.  The  picture  is  now  im- 
mersed in  the  third  bath,  C,  where  it  is  allowed  to  remain  a longer  or  shorter 
time  according  to  the  degree  of  density  which  is  desired.  The  print  may  be 
withdrawn  from  the  solution  for  examination  as  often  as  required.  A thorough 
washing  is  finally  given  and  the  plate  allowed  to  dry.  It  is  best  not  to  print  the 
paper  too  strong. 

A dark  blue-black  tint  is  obtained  by  using  the  following  solutions.  Extract 
of  logwood  is  dissolved  in  warm  water,  which  solution  when  sufficiently  cool  is 
poured  upon  the  still  wet  carbon  picture.  After  this  application  the  print  is 
washed  for  a few  seconds  and  a three  per  cent,  solution  of  bichromate  of  potash 
is  applied  for  three  seconds.  These  solutions,  in  alternation,  may  be  applied 
repeatedly  until  the  desired  tint  is  obtained. 

It  sometimes  happens  that  the  carbon  tissue  does  not  adhere  well  to  the  glass 
plates,  or,  during  development  and  the  following  manipulations,  leaves  it.  When 
this  should  happen  it  is  better  to  proceed  as  follows.  Instead  of  squeegeeing  the 
exposed  tissue  to  the  clean  glass  plate,  a perfectly  clean  French  glass  plate,  a 
little  larger  than  the  intended  print,  is  collodionized  with  clear  collodion  and 
allowed  to  dry  for  some  hours  in  a place  free  from  dust.  Before  applying  the 
collodion  this  plate  is  not  waxed;  and  must  not  be  immersed  in  water,  as  is  gener- 
ally done  to  free  the  collodion  from  the  alcohol.  The  carbon  tissue  is  sensitized 
in  the  usual  way,  placed  carbon  side  down  upon  the  collodionized  side  of  the 
plate,  and  squeegeed  into  intimate  contact,  and  the  plate  with  the  sensitized 
tissue  upon  it  is  allowed  to  dry.  The  carbon  paper  prepared  in  this  way  remains 
sensitive  and  good  for  at  least  seven  days,  provided  that  the  paper  be  covered 
with  a glass  plate  to  protect  it  from  the  air.  If  a number  of  plates  have  been 
prepared  in  this  way  they  are  laid  one  on  top  of  the  other,  protecting  the  upper- 
most, as  stated  above.  Careful  laying  of  the  sensitized  carbon  tissue  is  absolutely 
necessary,  for  if  it  once  lays  fiat  it  would  not  be  possible  to  withdraw  it  from  the 
plate  without  tearing  the  collodion  film.  The  drying  will  take  about  three  hours. 


28 


It  is  better  to  prepare  these  carbon  sheets  of  larger  size  than  required,  for  the 
manipulations  are  almost  the  same  for  a large  sheet  as  for  a small  one.  Before 
use  for  printing,  the  required  size  of  the  tissue  is  cut  from  the  plate,  leaving  the 
remainder  in  contact  with  the  latter.  Paper  which  has  been  prepared  in  this 
way  shows  a highly  brilliant,  even  surface,  and  will  lay  in  most  absolute  contact 
upon  any  negative,  and  as  the  optical  contact  is,  so  to  speak,  perfect,  it  will  give 
much  sharper  and  finer  prints  than  the  tissue  which  was  dried  in  the  free  air  and 
in  the  usual  style.  The  exposure  to  light  is  affected  in  the  same  way  as  usual,  but 
before  developing  the  paper  is  placed  in  a tray  containing  slightly  acid  water  (i 
part  muriatic  acid  to  1,000  water).  It  must  remain  longer  than  usual  in  the  water, 
as  it  is  essential  that  the  gelatine  absorb  as  much  as  possible,  for  without  this  pre- 
caution it  might  easily  become  reticulated.  When  well  saturated  the  paper  is 
placed  upon  a clean  glass  plate,  and,  without  using  the  rubber-cloth,  is  squeegeed 
into  contact.  Should  the  borders  not  adhere  the  paper  may  be  weighted  down 
by  a heavy  glass  plate,  when,  after  thirty  minutes,  it  will  lay  perfectly  flat.  The 
development  should  never  be  made  sooner  than  thirty  to  forty  minutes  after  the 
last  manipulation.  It  is  prudent  to  begin  the  development  with  rather  luke- 
warm water  of  not  over  82  degrees  F.,  and  only  later  on  to  use  hotter  water. 

Should  the  collodion  peel  off  during  development,  it  would  be  better  to  allow 
two  hours’  time  for  the  paper  to  remain  in  contact  with  the  plate  before  develop- 
ment; or  to  collodionize  or  gelatinize  the  glass  plate,  or  to  flood  the  plate  with 
a thin  solution  of  gutta-percha  in  chloroform.  The  paper  adheres  splendidly  to 
this  last  substratum,  which  must  be  perfectly  dry  before  the  application.  Trans- 
parencies sometimes  require  a little  intensification,  but  when  the  plates  have 
Keen  gelatinized  the  following  solutions  cannot  be  employed,  since  they  would 
tint  the  substratum  also.  Transparencies  on  clear  glass  or  on  collodionized 
plates  may  be  treated  with  the  following  solutions: 


No.  I. 

Permanganate  of  potash 4 parts. 

Water 1,000  “ 

No.  II. 

White  sugar 2 parts. 

Ammonia 2 “ 

Water 1,000  “ 


Equal  parts  of  these  solutions  are  mixed  in  a tray  into  which  the  transparency 
is  immersed  for  some  seconds.  Its  color  becomes  a yellowish  tint.  This 
way  of  intensification  offers  the  advantage  of  only  changing  the  actinic  value  of 
the  print  without  producing  any  granular  deposit  upon  the  plate,  as  the  intensi- 
fication with  logwood  and  other  materials  always  do.  Retouching  is  done  with 
a leather  or  paper  stump  and  the  finest  graphite  powder. 

Enlarging  Small  Negatives  by  Means  of  Artificial  Light  {Petroleum  or  Gas- 
light).— The  carbon  process  offers  many  great  advantages  for  the  production  of 
large  prints  by  means  of  small  negatives.  The  first  and  principal  advantage  is 
that  the  enlargements  are  stable,  which,  considering  the  high  price  paid  for  such 
class  of  work,  is  of  great  importance.  Secondly,  no  other  process  allows  of  the 
production  with  such  ease  and  certainty  of  a good  and  convenient  transparency 
for  enlarging  as  the  carbon  process  does.  And,  thirdly,  the  results  obtained  are 
of  such  beauty  that  no  other  process  can  furnish  them.  Besides,  it  must  be 
taken  into  consideration  that  any  negative,  provided  that  it  is  absolutely  sharp, 


29 


may  be  used.  The  proceeding  is  as  follows.  A positive  is  produced  in  the  usual 
way  by  the  enlarging  camera;  the  exposed  tissue,  after  having  been  moistened, 
is  squeegeed  to  a clean  glass  plate  and  developed.  This  positive  is  placed  in  a 
printing  frame,  and,  using  another  sheet  of  sensitized  cai*bon  tissue,  a negative  is 
produced.  Or  the  positive  is  placed  in  the  copying  camera  and  by  the  wet  proc- 
ess a negative  is  produced,  which  now  serves,  after  having  been  retouched,  for 
the  reproduction  of  as  many  large  prints  as  are  desired.  As  stated  before,  the 
transparency  for  enlarging  requires  a carbon  tissue  richer  in  color  than  that  ordi- 
narily used.  For  the  successful  production  of  a good  transparency  intended  for 
enlarging,  it  is  necessary  to  employ  the  carbon  paper  prepared  with  collodion; 
and  furthermore,  it  is  best  to  always  gelatinize  the  plate  to  which  the  exposed 
tissue  will  be  squeegeed,  for  then  reticulation  will  be  avoided.  The  gelatinizing 
for  this  purpose  is  best  done  as  follows:  13  ounces  of  Nelson’s  medium  gelatine 


are  soaked  for  one  hour  in  400  ounces  of  cold  water,  which  is  now  warmed  to 
produce  liquefaction.  When  fully  dissolved  a solution  of  1 ounce  chrome  alum 
in  1 60  ounces  water  is  added  by  degrees,  vigorously  stirring  the  solution,  which 
is  kept  warm  and  filtered  through  fine  muslin.  The  glass  plates  are  flooded 
with  this  warm  solution  in  the  same  way  as  if  collodion  was  employed.  The 
plates  so  gelatinized  are  allowed  to  dry  in  a cool  place  free  from  any  dust.  The 
plates  may  thus  be  prepared  in  advance,  taking  care  to  mark  each  one  on  the 
back  in  order  to  know  the  gelatinized  side.  They  are  stored  in  cases  of  conveni- 
ent size,  laying  the  gelatinized  sides  face  to  face. 

Before  use  these  plates  are  carefully  dusted,  placed  for  one  minute  in  cold 
water,  then  carbon  tissue  is  introduced,  and  when  it  flattens  out  is  brought  into 
contact  with  the  plate  and,  together  with  it,  is  withdrawn  from  the  tray.  The 
squeegee  is  applied  in  the  usual  way  and  some  pressure  exercised  upon  it.  It 


30 


must  remain  under  pressure  for  not  less  than  ten  minutes  before  it  can  be  devel- 
oped. 

The  enlarging  lantern  (Fig.  8)  may  be  used  with  advantage.  The  condenser 
should  be  of  from  4 fo  6 inches  and  of  double  plano-convex  construction. 
Since  the  enlarging  is  done  in  the  dark  room  no  camera  is  required,  and 
all  that  is  wanted  is  an  easel  or  a conveniently  constructed  plate  holder. 
It  is  easy  to  make  such  arrangements  on  one  wall  of  the  dark  room, 
where  it  does  not  interfere  with  other  work  there,  to  fix  a board  on  which  to  rest 
the  plate  holder,  or  a board  of  suitable  size  on  which  the  paper  may  be  attached 
by  means  of  some  tacks.  The  lantern  is  placed  on  a camera  stand  provided  with 
casters,  and  placed  in  position  before  the  easel.  The  focusing  is  done  upon  a 
white  card,  which  shows  much  better  than  any  ground  glass.  The  way  of  insert- 
ing the  transparency  in  the  lantern  determines  whether  a reversed  or  right  nega- 
tive will  be  obtained.  For  pictures  intended  to  be  made  by  the  double  transfer 
process  the  film  side  of  the  transparency  must  stand  towards  the  condenser,  for 
the  single  transfer  it  must  stand  towards  the  enlargement.  Enlargements  pro- 
duced by  the  double  transfer  process  have  a very  beautiful  appearance.  The 
retouching  cannot  be  done  upon  the  collodionized  print  when  separated  from 
the  plate,  but  there  are  four  opportunities  to  retouch  them:  First,  in  the  original 
negative;  second,  on  the  carbon  transparency;  third,  on  the  enlarged  negative; 
and  finally,  on  the  print  whilst  it  is  still  in  contact  with  the  plate.  All  this  re- 
touching, so  to  speak,  is  invisible.  Care  should  be  taken  not  to  overdo  the  re- 
touching; a little  practice  will  soon  teach  how  far  it  may  be  carried. 

The  photometer  also  comes  into  use  for  enlargements  produced  by  a solar 
camera  or  by  artificial  light.  It  must  be  placed  within  the  circle  of  illumination, 
and  in  order  to  ascertain  the  time  of  exposure  required,  a strip  of  carbon  paper 
is  exposed  first  and  developed  before  undertaking  the  production  of  the  enlarge- 
ment. The  enlarging  lantern  may  be  used  with  the  lime  light,  an  exposure 
of  corresponding  duration  being  given.  From  twenty  to  thirty  minutes  will 
be  found  sufficient.  When  a solar  camera  or  lime  light  are  used,  the  enlarge- 
ment may  be  made  direct  from  the  small  negative,  thus  saving  the  production  of 
a positive.  Some  operators  also  use  for  solar  printing  a small  carbon  transpar- 
ency and  develop  the  insolated  carbon  enlargement  on  glass,  while  after  intensi- 
fication with  permanganate  of  potash  it  is  employed  for  the  production  of  large 
prints. 

Failures  and  Their  Causes. 

This  chapter  contains  an  enumeration  of  the  failures  to  which  the  carbon 
process  is  subject,  since  the  old  adage,  “there  is  nothing  perfect  in  this  world/' 
applies  unfortunately  to  this  beautiful  process  just  as  well  as  to  any  other. 


Failures. 

The  black  gelatine  whilst  sensitizing  runs  off 
in  streaks. 

The  same  occurs  whilst  drying. 

Particles  of  dust  or  fibers  of  the  paper  adhere 
to  the  tissue  after  squeegeeing. 

The  tissue  does  not  lay  fiat  in  the  printing 
frame 


Causes. 

The  sensitizing  bath  was  too  warm. 

The  bath  was  too  warm;  squeegee  the  tissue 
plates  on  a glass  or  zinc  plate  and  dry  in 
cooler  room. 

The  plate  was  not  clean,  or  the  squeegeeing 
had  been  done  without  the  rubber-cloth. 

The  p?per  has  been  dried  too  fast  and  should 
be  a’lowed  to  absorb  a little  dampness. 


31 


The  11$ suv  sticks  to  the  negative. 


The  wax  on  ihe  plate  cannot  be  polished. 

Small  air-bells  appear  after  laying  the  sensi- 
tized tissue  upon  the  glass  plate . 

The  tissue  does  not  stick  to  the  plate , the  borders 
raise. 


The  tissue  in  developing  docs  not  separate  from 
the  plate , or  the  picture  does  not  ev'loP, 
remaining  too  dark. 


The  tissue  lifts  too  quick  from  the  plate  and  the 
picture  is  too  light . 

Air-bells  appear  on  the  back  of  the  tissue  when 
immersed  in  the  developing  bath. 

The  picture  lif  s on  the  borders  whilst  the  col- 
lodion remains. 

The  picture,  together  with  the  collodion,  lifts 
from  the  plate. 


1 he  collodion  film  breaks. 

Dirt  or  particles  of  paper  between  picture  and 
plate.  • 

Air -bells  bt  tween  the  picture  and  the  plate  or 
the  flexible  support. 

The  picture  is  full  of  small  fissures. 

The  Picture  appears  granular  or  reticulated. 


The  picture  swells  up  much  when  immersed  in 
7vater,  and  moss -like  excrescences  appear  in 
the  picture. 

Reticulation  of  picture  during  development  on 
glass  plates. 


The  paper  was  not  dry  enough,  or  the  nega- 
tive or  pad  was  damp.  Impermeable 
paper  or  rubber-cloth  should  be  laid  be- 
tween the  tissue  and  the  pad. 

1 he  piate  was  too  cold,  the  wax  was  not  pure, 
or  the  polishing  flannel  was  damp. 

The  paper  was  not  a sufficient  time  in  the  cold 
water,  or  had  not  been  lowered  with 
enough  care  upon  the  plate.  Withdraw 
the  tissue,  remoisten  and  replace  it. 

It  had  remained  too  long  in  the  water,  was 
over-exposed,  or  suffered  from  emanations 
from  kitchen,  gas,  etc.  Apply  pressure 
for  io  to  15  minutes.  A prompt  way  to 
learn  if  the  paper  is  still  good  is  to  apply 
hot  water  to  a small  piece  of  unexposed 
tissue,  if  the  gelatine  dissolves  it  is  still 
good. 

The  exposure  was  too  long,  or  the  transfer 
was  made  too  late  after  the  exposure  to 
light.  Hotter  water,  or  a bath  of  two 
per  cent,  carbonate  of  soda,  or  the  addition 
of  a few  drops  of  liquid  ammonia  may  be 
used ; or  the  paper  is  not  good. 

The  exposure  to  light  was  too  short.  Develop 
with  cooler  water. 

The  water  was  too  warm.  Begin  with  cold 
water  and  raise  its  temperature  by  degrees. 
The  air-bells  often  show  in  the  picture. 

No  safe  edge  had  been  used,  or  the  paper  was 
spoiled.  Too  old,  or  affected  by  emana- 
tions from  gases. 

The  wax  contains  tallow.  A slight  addition 
of  ro$in  to  the  waxing  solution  is  the 
remedy.  The  collodion  had  dried  too 
much  before  the  plate  was  immersed  in 
water. 

It  is  too  soft  or  too  fresh;  addition  of  negative 
varnish.  The  film  was  hurt.  The  bor- 
ders of  the  plates  are  too  sharp. 

If  they  were  not  on  the  plate  since  the  begin- 
ning, they  come  from  the  water. 

The  tissue  was  not  lowered  carefully  upon  the 
support,  or  the  squeegeeing  was  not  done 
in  the  right  way. 

The  paper  was  too  long  in  the  sensitizing  bath, 
or  the  bath  was  too  strong  or  too  warm. 

The  tissue  was  not  left  long  enough  in  contact 
with  the  support.  Paper  which  has 
suffered  from  emanations  of  gases,  or 
dried  too  fast,  shows  these  defects  very 
often. 

The  sensitized  paper  is  spoiled  by  emanations 
from  kitchen,  stable,  gas  or  closets. 

The  exposed  paper  had  not  remained  a suf- 
ficient time  in  cold  water  before  affecting 
the  transfer. 


32 


Small  brilliant  spots  or  air -bells  appear  in  the 
Picture. 

Cloudy  appearances , principally  in  the  back- 
ground of  the  picture. 

Uhe  picture  shows  no  half  tones. 


'('he  transferred  and  dry  picture  does  not  leave 
the  support , or  sticks  to  it  in  some  places. 


The  double  transfer  paper  leaves  the  plate 
without  the  carbon  picture. 

The  picture  is  full  of  brilliant  spots , principally 
in  the  high  lights  and  around  the  outlines. 
The  Picture  is  granular . 


Same  reason  as  the  preceding.  They  form 
some  minutes  after  the  transfer,  and  as 
they  are  between  the  paper  and  the  col- 
lodion, there  is  no  remedy. 

If  hotter  water  does  not  remove  them  then 
they  are  due  to  the  alcohol  which  was 
still  present  in  the  collodion  when  making, 
the  transfer. 

The  negative  was  too  dense.  Expose  the  tis- 
sue before  or  after  printing  for  a few 
seconds  to  daylight;  or  the  paper  was 
dried  too  fast  and  consequently  is  too 
soluble. 

The  proper  flexible  support  or  plate  was  not 
well  waxed;  the  waxing  solution  contains 
too  much  rosin;  the  waxing  was  polished 
off  entirely;  or  the  flexible  support  was 
dried  with  too  much  heat. 

It  had  been  dipped  in  too  hot  water,  or  the 
alum  bath  was  too  strong. 

The  transfer  paper  was  soaked  in  too  . cold 
water. 

The  second  transfer  was  made  too  late. 


ARBON  TISSUE. 


MADE  BY 

THE  AUTOTYPE  COJTPANY,  LONDON,  ENGLAND. 


USED  IN  HAKING  CARBON  PRINTS,  TRANSPARENCIES,  ETC., 
GIVING  PERflANENT  PICTURES. 


NO. 

IOO. 

103. 

104. 

105. 
106. 
1*3- 

115. 

I5i- 

152. 


PRICE  PER  BAND. 


...$2.75 


107. 

108. 

79- 


f COLORS.  SIZE  OF  BAND. 

Standard  Brown 2%  x 12  ft. 

Warm  Black “ “ 

Engraving  Black “ “ 

Sepia. “ “ 

Red  Chalk “ “ 

Portrait  Brown “ “ 

Lambertype  Purple  (for  Portraits). . . “ “ 

Sea  Green. “ “ 

Dark  Blue “ “ 

Warm  Sepia “ “ 

Special  Transparency  Black 2 x 12  ft 3.60 

Single  Transfer,  Med.  Thick 2%  x 12  ft.  1.20 

“ “ Fine,  Thin.... “ “ 1.50 


DOUBLE  TRANSFER  FINAL  SUPPORT. 


86. 

87. 


Medium  Thickness 2]/z  x 12  ft $1.30 

Fine,  Thin,  for  Small  Work “ “ 1.50 

Sawyer’s  Temporary  Support,  sheets  18  x 23  in.,  per  sheet 35 

“ “ “ “ “ “ dozen 3.80 

“ “ “ “ 36  x 48  in. , per  sheet 1.30 

Waxing  Compound,  per  cake 25 

Johnson’s  Actinometer,  with  Sensitive  Paper 1.10 

Sawyer’s  “ “ “ “ 2.20 

Burton’s  “ “ “ “ 2.75 

THE  TEHPORARY  SUPPORT,  upon  which  are  treated  pigment  prints  from 
ordinary  negatives,  permits  of  the  prints  being  developed  upon  it  with  the  same 
ease  and  facility  as  did  the  Single  Transfer,  of  which  this  takes  the  place. 
This  support  can  be  used  an  indefinite  number  of  times,  only  requiring  to  be 
rubbed  over  with  the  Waxing  Solution  to  insure  the  stripping  of  the  print  from 
its  surface. 

THE  FINAL  SUPPORT  is  a special  paper  coated  with  a gelatinous  emulsion  of  a 
permanent  white  or  tinted  pigment.  It  supersedes  the  old  Double  Transfer 
Paper  by  reason  of  its  greater  efficiency  and  the  ease  and  simplicity  of  working 
with  it.  It  will  keep  good  for  an  indefinite  time,  does  not  require  hot  water, 
and  forms  a permanent  basis  for  the  pigment  print. 

ETCHING  PAPER — Single  Transfer.  A rough-surfaced  toned  Etching  Paper  for 
Single  Transfer,  yielding  prints  with  broad  artistic  effect,  and  free  from  the 
glaze  of  an  ordinary  carbon  print.  By  masking  the  negative,  prints  may  be 
developed  on  this  paper  with  suitable  margin,  rendering  mounting  unnecessary. 

Band  2]^  x 12  feet $1.60 

CELLULOID  IN  SHEETS— White.  20  x 50  inches,  y^in.  thick,  per  sheet,  $1.25 
- 20x50  “ Tinhiin-  “ “ “ 2.00 

iold  only  in  full  sheets. 


34  97°) 


CUT  SIZES. 

Sepia.  TRANSFER  PAPER. 

No.  86  Dble.  Transfer.  No.  108  Single  Transfer. 


$0.25  

.50 

25  

•65  

35  

30 

1. 00 

45  

••• 40 

i 


